*9 '♦7* J fi' A 







BUKRESCO 

College Annual 
Guide 

A Book of Instruction and Information 



for the 



College Annual Staff 



By BERT M. CAPPER 



Published by 

BUSH-KREBS CO, 

Incorporated 
LOUISVILLE, KY. 






ex- rru^r fri 



One 






COPYRIGHT 1922 BY 
BUSH-KREBS CO. 



M d3 1922 



©3.A653823 



FOREWORD 

We have prepared this book for the 
sole purpose of enabling our College 
friends, who are members of the Annual 
Staff, to produce a book that will be as 
perfect in the art of College Annual build- 
ing as it is possible to attain. 

It is our earnest desire to assist in 
the production of a book that will be a 
credit to your staff and school. 

Bert M. Capper. 






Three 




J 

v 



An out-of-the-ordinary way of treating a portrait Tor the dedication or president's 
page. This is an outline vignette portrait. The black panel is put on by our artist 
before making the engraving. There are many other methods of giving these por- 
traits a distinctive appearance. 




: 






INTRODUCTION 

There is nothing your class can ever do that will be as big a help to your school 
as a really good, well edited and properly illustrated Annual. A good book will 
bring many new students to the school next year, while a poor Annual may make 
some of the prospects decide to go elsewhere. 

This is a text book for members of the Annual Staff who are responsible for the 
success of their school's yearly publication. It contains the suggestions and infor- 
mation that years of experience have shown us are needed by student members of 
the staff. 

Careful study of this book will give you a clear idea of what has to be done to 
make an Annual. Questions you would otherwise need to write to your engraver 
or printer about are fully answered here. Often the Annual Staff is altogether 
inexperienced in matters of this kind. This text book will relieve them of that 
handicap and make their work much less arduous and much pleasanter. 

We have to deal each year with an entirely new and usually inexperienced staff 
of managers and editors, and find that to many of them the production of an 
Annual looks to be a very simple undertaking. They fail to realize at the outset 
what a great amount of hard work is required every day for months, if the book is 
to be a success, financially and editorially. 

There are no positions in the student body organizations which require as much 
work and time as those of Business Manager and Editor-in-Chief on the Annual 
Board. 

It is not the good fortune of everybody to get a chance, such as you have, to 
show your mettle. Keep everlastingly at it, and you will always be proud of your 
achievement. Because of the great amount of work on the Annual, you will learn 
to use your time more systematically and will thus learn to study efficiently. 

Getting out an Annual is a liberal education in itself. It will teach you pluck, 
perseverance, judgment, and you will acquire ability through this experience. 
It will teach you to look at things in a broad sense and to interpret them to others 
in an interesting way. It will teach you to write and give you valuable business 
training. 



L//M 



'M 



COLLEGE ANNUAL ENGRAVERS TTT — ■ ; 

Five 




n n n H D n D 

ddddd u u nnnnn 

□ CONTENTS □ 

FOREWORD 
INTRODUCTION 

LIST OF ILLUSTRATIONS 

□ □ 

BOOK I 

EDITOR'S SECTION 

□ ' □ 

BOOK II 

BUSINESS MANAGER'S SECTION 

□ □ 
BOOK III 

ART EDITOR'S SECTION 

□ □ 
BOOK IV 

PHOTOGRAPH EDITOR'S SECTION 

□ □ 
BOOK V 

BUILDING THE BOOK 

ENGRAVER'S AND PRINTER'S 
TERMS 

INDEX 

□ □ 

□□^□□□□□□□□□□□□□□□□□□□□n 

□ □ 

□ □ 



Illustrations 

Art Section. 38-96-99-133 

Athlete, Outline Finish 51 59 104 14? 

Athlete, Square Finish 90-100 1 1 7 1 30 

Bad Lighting ^ 

Basket Ball Girls. . . \'.'.\'.'.'.'.'.'.\'.'.\ i 48-51-88-94 

tien Day Tints , , 

Bookkeeping, Illustrated AA 

Building, Badly Focused , ,, 

Building, for View Section H? 

Building, Dull Surroundings .(,„ 

Building, Vignette Finish 106 109 

Building, Entrance View ., 

Building, Vignette for View Section 38 

Building, Corner Piece .„ 

Building, Railroad Station . . 

Building, Summer House , 77 

Building, Too Much Background 89 

Building, Bad Winter View 107 

Carnival Scene no 

r. . . I 2o 

Cartoon, Ads . . 

Cartoon, Finis ' 

Cartoon, Freshman, in Colors ,r\ t • 

r , o 60-64 

Cartoon, Preps 

Color Cartoons - ,„ 

Copy Sheet, Illustrations of , Q -, n ,, 

,~ o . , 1 0-20-22 

Copy Sticker 

Combination Photos and Pen Drawing z 7 

Covers 

Diagram for Enlarging and Reducing nri 

Dummy, Illustrations of IK 

Enlargement Diagram 90 9 1 

Enlarged Portrait . . , 

Football in Action SQ 

Football, Panel .„.' ln , 

n ... . 104-105 

Croup, Athletic qn 

Group, Athletic .„„ 

Group. Badly Lighted in 

Group, Carelessly Made II? 

Group, Honor Students 10? 

Group, Properly Trimmed q . 

Group, Too Crowded ... D i i . c 

r^ t »/t it-. , ol- 1 I ) 

Croup, 1 oo Much Background q , 







Seven 



Illustrations 



Group. Special Football I CM 

Group. Special Football 105 
Group of Snaps - -~-:2:>-l. ;;; 

Group of 24 Portraits 1 2° 

Group. Fraternity I >£ 

Group. Faculty t\> 

Group, ol Heads 7c 

Group. Irregular Size Hevids 79 

Group. Too Far Apart "" 82 

Group. Mutilated Pictures 2° 

Head and Tail Designs 120 

How to Mark Pictures 93 

Halftone Screens. Samples of 2c- 

Marking Pictures 95-111 

Mounting Board Samples ; " 

Mutilated Copy ' 2°-IIl 

Order Blanks. Illustrated :: - 

Panel. Athletic 104-105-117 

Pane Sen ore c c -". " 

Panel. How to Make 71-72-75-74 

Panel. Faculty 68 

Panel. Mount Design 72-73-74 

Panel. Too Black " ) 

Pictures. Spoiled in Shipping 2° 



Porto 

Portr 
Portr 
Portr 
Portr 
Portrait 

Portrait 
Portrai 
Portrait 

Portrait. Showing Halftone Screens 2c 

Reduction Diagram • i ."-- 

\ Brook 10 

Scene A Pond I? 

Scene Falls. Corner Piece 

Scene Wands .103 

Snaps. How to Group SS-83 

Tennis Group I V> 



t. President or Dedication 4 

es of Finish 
t How to Trim 

Light Background 1 10 

Dark Background 110 

t. Mutilated by Marking 111 

Badly Grouped Tl 31-82-1 12 

Square 1 1 ; 

Section o^oo 

loo V _cS Enlargement ll ? 










dB 





Editor's Section 






F vl! 



CONTENTS Page 

1 . The Editor II 

2. Election of Staff II 

3. Organizing the Staff 12 

4. Start Early — Reasons for 12 

5. Start Early — Bulletins 14 

6. Reasonable Time for Engraver and Printer 14 

7. Printer's Copy — Legibility 15 

8. Printer's Copy — How to Prepare 15 

9. Printer's Copy — Editing 16 

10. Printer's Copy — Numbering Sheets 16 

1 1. Printer's Copy — How Printer Handles It 16 

12. Final Page Proofs 17 

13. Advance Book for O. K 17 

1 4. The Dummy — How to Make Up 17 

1 5. The Dummy — Styles of Pages 19 

1 6. The Dummy — Inserts 21 

1 7. The Dummy — Border, Head and Tail Pieces 21 

18. The Dummy — Estimating Space 21 

19. The Dummy — Oversize Engravings 23 

20. The Dummy — Page Headings 23 

2 1 . The Dummy — Editing 23 

22. The Dummy — In the Bindery 24 

23. Postage and Mailing 24 

24. Correspondence and Shipping Copy 24 

25. Engravings — Styles of 25 

26. Engravings — Color Work 25 

27. Halftones— How Made 25 

28. Halftones — Style of Finish 27 

29. Halftones — Duographs 29 

30. Halftones — Three Color Process 30 

3 1 . Halftones — How to Order 32 

32. Engraver's Copy — Defects 29 

33. Zinc Etchings — How Made 30 

34. Zinc Etchings — In Colors 30 

35. Zinc Etchings — How to Order 35 

36. Identification of Engravings 30 

37. Size of Copy for Engravings 27 

38. Old Engravings 35 

39. Sending Copy to Engraver 35 

40. Printer's and Engraver's Terms 36 






iS^a^jSL 



Nine 




Kond memories will be awakened by this picture when (he old annual is brought out 
in future years. 



The Editor 

IMPORTANCE OF THE EDITOR'S POSITION 

The position of Editor of the Annual is not only one of honor but one of great 
responsibility as well, and if the book is a success the Editor can feel that he 
has accomplished something of which he can be proud. 

Fortunate indeed is the Editor who is elected a year in advance of the publish- 
ing of the book, because he can have time to watch the work of the staff on the 
current year's book and gain an experience that will make his own job much easier 
and his work more satisfactory. 

The time for the Editor to start his work is the day he is elected. He should 
give much thought to the selection of his assistants and their qualifications for the 
positions they will be asked to fill. A person who would make a splendid photo- 
graph editor might make a dismal failure if put in charge of selling books or adver- 
tising space. Don't try to fit square pegs in round holes, and if you find a mistake 
has been made, make a change before too late. 

The Editor and Business Manager should immediately get together and select 
their engraver, photographer and printer. They should then discuss the general 
style of the book and make notes of subjects for discussion with the staff. After 
this preliminary meeting, the staff should be called together for organization and 
assignment of duties to each. 

After organization and meeting of the staff, the Editor should carefully make up 
a dummy. This will be a wonderful help in all his future work and will go far 
towards making the book a success from the editorial standpoint. 

With the dummy as a guide, it will be easy for the engraver, printer and pho- 
tographer to make a close approximate estimate of their various charges so that no 
bad error can be made in financing. 

The Editor is entirely responsible for the book coming out op time, and he 
must allow the engraver and printer sufficient time to do their work. This is why 
it is necessary to get an early start and push the work vigorously. The Editor's 
work should be done long before the school rush that comes with examinations, 
preparing for graduation, and other duties incident to the last of the Senior year. 



ELECTION OF STAFF 

It is the custom in some schools to elect Assistants to Editor and Business 
Manager from the class which will publish the Annual the following year 
with no assurance that they will be on the next years staff. 

A still better plan is for the class to elect their Editor and Manager a year in 
advance and have them serve as assistants on the current year's staff. By this 



Eleven 



plan the right persons will gain an experience that will be of the greatest possible 
value in the practical and successful handling of their own book. 

Much valuable time will be saved if the Editor and Manager are elected and 
able to sign their contracts for engravings for the following year before school 
closes in the spring. The engraver is not busy during the summer and can render 
valuable service in getting the book planned and the work well under way before 
school opens in the fall. 



ORGANIZING THE STAFF 

Organize a good staff. It will be a big help, because eight or ten people will 
know more people and many more interesting things about the school than one 
man can know. A large staff will have many good suggestions and a systematic 
division of labor, if properly directed, will make the work of each easy and interesting. 

After conference between the Business Manager and Editor-in-Chief, a meeting 
should be called of the entire Board for the purpose of organizing, planning a 
schedule and laying out the work. 

In order that the Editor and Business Manager may know how the work is 
progressing, meetings should be held frequently for reports from the various As- 
sistant Editors, Advertising Manager, Subscription Manager, etc. 

The staff should work in perfect harmony, and above all should work. 

The editorial work should be so divided as to make the various departments 
of the book as easy to handle as possible. Each department in the book should be 
in charge of one member of the staff who is responsible solely to the Editor-in-Chief. 

After you have thought long and hard about your school and your Annual 
in a general way, and after you have organized your staff, you are ready to get 
down to the finer points. All this preliminary work should be done very early, 
preferably in the spring of the year before your Annual is issued — provided you 
are elected that early. The time to start organizing is the day after you are 
elected. It is then you can put pep and ginger into the Annual, for after a while 
you will be so busy editing copy, reading proof and checking photographs that you 
will have but little time for anything but detail work. 



START EARLY 

Of course the Editor often has to wait on the action of a Business Board or 
Business Manager, but usually the Editor can secure early action by being insistent. 
You will do a good day's work if you spend one whole day convincing your Business 
Board that you must have quick action on your engraving contract. The Board 
should be glad to co-operate because the financial success of the Annual depends 
largely on how early it comes off the press. 

The Business Manager should bear in mind that the earlier the book is com- 
pleted, the easier and the more successful will be his work. After the book is 



' Twelve 




The picture above is just an ordinary, cheap halftone. Notice how dull 
and flat it looks in contrast with the halftone at the bottom of the page. 

In order to get the bright, snappy, attractive lower picture the plate was 
carefully re-etched by an artist skilled, not only in color values, but in the 
art of securing, in a printing plate, proper lights and shades. 

Where an artist secures desired effects with oil or water colors, pencil or 
crayon, the re-etcher is compelled to work on copper with acids and through 
a magnifying glass. His picture consists of thousands of dots and lines to 
each square inch and the size of these regulate the color values of the printed 
picture. The beauty of your pictures is very largely dependent on the skill 
of the re-etcher. 



A 




PL™ 



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Thirteen 



completed, there is sometimes a slight delay in its delivery and there may be some 
delay in placing the book on sale. To collect all the subscriptions and to make all 
the sales will be found a big task. 

The Advertising Manager must spend almost as much time in collecting as he 
did in securing the advertising contracts. Many letters must be written, and 
while many advertisers pay promptly, there will be a few that you will have to 
keep after for weeks, especially those at a distance. 

If the book is completed many weeks before commencement, this work can be 
attended to easily and systematically. On the other hand when the book is deliv- 
ered late, with only a week or two to spare, all is confusion. Many students 
leave before commencement time. Money is not plentiful with most of them 
and commencement expenses are heavy. A book delivered six weeks before 
commencement will find a much readier sale than a late book. The Editor can 
better afford to omit the record of late baseball games and other late events than 
to include them at the expense of belated delivery, thus causing the Business 
Manager untold trouble and worry. 



START EARLY -BULLETINS 

The Manager and Editor-in-Chief should post bulletin notices to the effect 
that all photographs of Seniors, Juniors, etc., must be delivered to the Photograph 
Editor on or before a certain date, and stating that under no circumstances will 
any photographs be accepted after that date. The "dead line" should be set 
from two to three weeks ahead of the date at which the Editor-in-Chief expects 
to have his copy completed. A month is none too long in which to compile the 
various literary and illustrated portions of the book after the copy has been turned 
in to the Editor. Even when copy is in the hands of the Editor-in-Chief, he has 
a tremendous amount of work ahead. He should carefully edit every line of the 
copy and prepare a systematic and intelligible dummy to be used by the printer. 



REASONABLE TIME FOR ENGRAVER AND PRINTER 

No engraver or printer can do his best in a hurry. Every handsome Annual 
is proof that the work has been given due time in the engraving department, 
composing room, press room and bindery. A poorly printed or poorly bound book 
indicates, usually, that the printer has not been given enough time to do his work 
well; or, if he had sufficient time, that he was not competent. The only assurance 
that a book will be first-class in composition, press work and binding will be found 
in the early delivery to the engraver of all photographic copy and to the printer of 
all manuscript copy. Many large printers give as their reasons for declining 
College Annual business that late copy makes them unprofitable and unpleasant. 
It is safe to state that not one book in twenty is turned over to the engraver and 
printer within the time specified in the contract. 

Nine out of ten Business Managers have the old time-worn excuses for a late 



I 



book: "The photographer was busy on his Christmas work"; "Some of the 
Seniors and Faculty wouldn't get their photographs on time," etc. Some An- 
nuals come out on time and yield handsome financial returns, due solely to proper 
organization and a system that is kept working from the start. 

The book can rarely be a success financially if late. It surely will not be a 
success if the Advertising Manager and Subscription Manager fail to do their 
work very early in the fall before publication. 



PRINTER'S COPY LEGIBILITY 

Legible copy is absolutely necessary, and in order to secure this we urge that 
everything be typewritten. You will readily understand the reason for this. 

Wages of type setters and machine operators are high, and during the short 
season in which Annuals are printed delays in receipt of copy are so frequent that 
overtime work at fifty per cent higher wages has to be resorted to. 

Hence it is evident that time in the composing room is one of the most costly 
parts of an Annual, and it must be economized by carefully prepared copy. 

Even a minute lost here and there in deciphering poor manuscript or uncer- 
tain spelling of names is a dead loss in actual cash, not to mention the much great- 
er expense in correcting proofs when errors are discovered. 



PRINTER'S COPY—HOW TO PREPARE 

We will furnish you, free of charge, uniform copy paper, size 8 1-2 x II inches, 
and would suggest that double spacing, three lines to the inch, should be the rule, 
as such typewriting admits of interlining and is much more easily read by the compo- 
sitor. Write on one side of the copy paper only. Also never pin anything to a 
sheet of copy paper. Any afterthought or inset should be prepared on a slip of 
paper and pasted — at the left margin only — securely to the copy sheet, with a mark 
to show exactly where it is to be introduced into the type. Pins invariably drop 
out in the rough usage to which copy sheets are put in the many proofreadings and 
checkings required. 

Be sure to make a duplicate or carbon copy of everything for your own files. 
In case original copy is lost in the mail, or otherwise, your duplicate can be used, 
thereby saving considerable time in rewriting. 

Copy written with pen or pencil may be very carefully written, but always 
brings trouble before the job is completed, as names and places are so much used 
in an Annual and their spelling is often purely a matter of guess-work on the part 
of the compositor unless his copy is typewritten. 

Of course, copy prepared with pen or pencil will be accepted provided it is 
legibly written and on only one side of the sheet, but more errors will be found in 
proofs and more alterations will have to be paid for. On pen written copy all 
names should be printed very plainly to insure correct spelling. 






ryL^rv-t ^ ,^t9-l 









Fifteen 



tKlii n fill in HI Mil mi 



PRINTER'S COPY EDITING 

After the Editor-in-Chief has received copy from his assistants he should go 
over and edit it carefully before sending it to the printer. Remember that changes 
from original copy, after type has been set, will be charged for as extras, and that 
you will save money if the corrections are made before the copy goes to the printer. 

Be especially careful as to the correct spelling of names and places and see that 
the name of one individual is not spelled two or three different ways in the book. 

Where membership in Greek fraternities is indicated after names of members 
in classes, etc., Greek letters should be used in designating the name of fraternity 
or fraternities, thus ' John William Davis, <I>JH, ' instead of spelling out names of 
fraternity in English. If the typewriter is used, the Greek letters can be inserted 
later with pen. 

If membership in Greek fraternities is included in the list of honors under- 
neath name, the Greek letters should be written out, as Phi Delta Theta. This is 
important, as it saves time in composition and proofreading and prevents possible 
mistakes. 

PRINTER'S COPY— NUMBERING SHEETS 

After the copy for an article has all been edited and is thoroughly satisfactory 
to the Editor-in-Chief, then each sheet of copy should be numbered consecutively, 
so that in the event a sheet, or a number of sheets, should be dropped on the floor 
or blow out the window, the consecutive order of the copy could be immediately 
re-arranged. On each separate article or group of statistics indicate in the left- 
hand margin of copy paper how many pages it is to occupy, give the page numbers 
in the dummy, and state whether an engraving works in conjunction with it, giving, 
if possible, size of engraving and engraving number. 



HOW THE PRINTER HANDLES COPY 

When your copy reaches the printer, each piece of written copy goes to the 
type-setting room and is set up in type and placed in galleys or brass slides. When 
all type is set, the printer takes a proof which is read and compared with your 
original copy by a proofreader. If mistakes are found they are corrected, then an- 
other proof is printed and mailed to you so you can go over it for any errors you 
have made in grammar, names, facts or arrangement. If you catch any errors, 
correct them in the margin of proof so that they can be corrected in the type be- 
fore the pages are made up ready to print. These author's corrections are charged 
extra by printer, so you can see the importance of having copy carefully edited 
before it is sent in. 

When proofs are sent back to the printer and necessary corrections made, the 
type is ready to go to the make-up man. This man consults his dummy and finds 



Sixteen 



that a title page goes on page one. He gets the type out of the galley and properly 
spaces it out to standard page size and ties it up with a string. Another page in 
dummy calls for a Senior panel engraving with names and write-up opposite each 
picture. He finds the engraving by its number, picks the proper type out of 
galley and combines the two into a complete page. Another page will be all 
type matter and no engraving, and another will be a full page engraving with 
possibly a single line of type below it. 

Working page by page, constantly consulting the dummy for arrangement, 
he gradually makes up the entire book into pages; each engraving and type article 
in its proper place on the page and each page with its proper page number as it 
will appear in the finished book. 



THE FINAL PAGE PROOFS 

As an extra precaution the printer will take a rough proof of each completed 
page and send for your final 0. K. Go over these proofs carefully and see that no 
errors have been overlooked and that each engraving is in its proper place and that 
each article is on the proper page and particularly that all names are properly 
spelled. This is your last chance to correct errors, so be careful but very prompt 
as the press is waiting for you to send proofs back. Don't let anything interfere, 
but get these proofs back by first train, Special Delivery. 



IMPERFECT ADVANCE BOOK 

It is customary to send by special delivery mail, as soon as the last form is off 
press, a copy of your publication. This copy is imperfect, consisting of torn, soiled 
or poorly printed sheets, put together roughly. It is not to be considered a 
specimen of the finished work. It is submitted for one purpose only — to give 
the customer an idea of the positions of the various parts of the book. While this 
rough copy is in transit the binding is progressing. If the distance be great, the 
finished books may sometimes be shipped before the receipt of this sample. 

Should there be any glaring errors in the make-up of the book as shown by this 
advance copy (all publications invariably have some trifling typographical errors 
not worthy of consideration), wire the printer immediately, bearing in mind, how- 
ever, that the printing is completed and that no change can be made in that part 
of the work. We strongly urge that this copy be not shown to any person other 
than the Editor, as it would, in its imperfect state, cause adverse criticism. 



THE DUMMY^HOW TO MAKE UP 

Knowing now how your copy is handled in the print-shop and the importance 
of a correct dummy as a guide to the printer, we will study how to make up a 
dummy. 



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Seventeen 







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Fig 


No. 1 shows how 


.he 


editor 


makes up the du 


mmy 


page, 


indicating by rough 


dia- 


grams 


the style, position. 


num- 


ber a 


d size of the engravings 


lhat a 


re to appear on the 


page 


and Ihc space left for 


type 


matter. 




Fig 


No. 2 shows how 


copy 


is wr 


lien for the prinler 


and 


indicating the style of 


type 


composition. 




Fig 


No. 3 shows the Mil 


shed 


page t 


fler the prinler has done 


his »c 


rk. 





Eighteen 



The printer will furnish you two paper-bound dummies, and they should con- 
tain about ten pages more than you intend to have in your book. Order these 
as soon as you decide on number of pages. 

The dummy is a guide for the printer to show what goes on each page in the 
book, i. e., the type articles, cuts, headings, borders, size and location of advertise- 
ments, etc. All copy to be set in type must be on sheets and not written in dummy, 
but each piece of copy and each engraving must have its proper place indicated in 
the dummy by letters and numbers hereafter explained. 

First: Number pages in both dummies consecutively, in the upper right-hand 
corner, with odd numbers on right-hand pages and even numbers on left-hand 
pages. As you make up dummy for the printer make a duplicate for yourself. 

Second: You have probably been furnished, or have made up yourself, a loose- 
leaf preliminary dummy so that you have a well denned idea as to just how your 
book is to be made up page by page. 

With this plan, begin with page I and mark plainly what you want to appear 
on this page in the printed book. It will probably be a title page or Ex Libris. 

Next, take page 2. It may be a dedication portrait. Indicate by a pencil 
diagram on the page the size and shape of engraving and below the diagram write 
name or caption that goes in type if there be any such; if none, write "Engraving 
only, no type," and give number of the engraving. Continue this page by page 
until every page in the dummy shows all and exactly what is to appear on that 
page when printed. Be sure and identify article and engravings accurately and 
plainly by numbers and titles. 



THE DUMMY—STYLES OF PAGES 

As different styles of pages will appear in your book they must be properly 
indicated in the dummy, so we give some examples. 

a. Blank pages — simply mark blank page in dummy. 

b. Page with engraving but no type or printed matter of any kind. Draw 
a diagram on the page giving the approximate size of engraving, and in the diagram 
mark "Halftone" or "Zinc Etching of" and give the number and a short descrip- 
tion of the illustration just enough so the printer can easily identify it — such as 
"Group of 18 boys"; "Building 3 story with porch in front"; "Cartoon of girl with 
tennis racquet. 

c. Page with engraving and a title under the illustration. Draw diagram giv- 
ing size and shape of engraving. In the diagram give number and short descrip- 
tion of the picture, and under the diagram write the title that goes under it in type, 
d. Page with one or more illustrations combined with printed matter. First, 
draw diagram showing size and position on the page of cut or cuts and in each 
write number and description of engraving. In the blank space at sides or top 



1 




Nineteen 









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Here is illustrated a dummy 
page. Fig. No. 1 showing how 
four advertisements are to be 
arranged on one page. Fig. 
No. 2 shows editor's copy for 
one of the individual advertise- 
ments. Copy for each adver- 
tisement should be written on 
a separate sheet and particular 
care should be taken to see 
that all names of articles, 
figures and addresses are cor- 
rect and plainly spelled. Fig. 
No. 3 shows the complete page 
after it is printed. 



Twenty 



or bottom of cuts give title of the printed matter, using same title as used on copy 
for printer. 

e. Panel pages. Draw diagram of panel indicating space occupied by each 
individual and write plainly the individual name in the space his portrait occupies. 
At side write the name again and indicate by pencil lines about the number of 
lines of type matter in his write-up. 

f. Pages all type matter. Write on page "No engraving, all type," and give 
exact title of the article as it is in printer's copy. If article continues over to 
next page, mark "Continued" and give the title again. 

g. Advertising page. Draw diagram and divide the page up into spaces 
exactly as sold. Full page, half, quarter or eighth page, and write the advertiser's 
name carefully and plainly spelled in his space. If a cut goes in an advertisement, 
write "Cut of shoe," "Cut of stove," or whatever it may be in the space and give 
the number of the cut you have marked on the cut itself. See pages 18, 20, 22. 



THE DUMMY— INSERTS 

Color Pages, Book Section Titles, Tips, Fraternity Emblems and all other 
pages or inserts that are different in any way from the standard pages, should be 
indicated by a sheet in dummy. On the sheet give a careful description of the 
illustration, tell number of colors, size and any other information that will give the 
printer a clear understanding of what is wanted. If a different kind of paper is 
to be used for the insert, get from the printer a sample page size of the paper se- 
lected and use it for dummy. These insert pages are not printed with the regular 
book pages, so do not give them a folio or page number. Note inserts in this 
book opposite pages 8, 36, 53, 100, 1 18. 



BORDER AND HEAD AND TAIL PIECES 

Where border or head and tail pieces are to run throughout the book, it is not 
necessary to indicate them on every page. Indicate such on first page in dummy 
where it appears and say, "This border or head and tail piece goes on every page" 
and give any special instructions as to color of ink, etc., that may be necessary. 

To make our instructions clear in reference to preparation of dummy pages, 
we illustrate in miniature on pages 18, 20, 22 several annual pages with dummy 
page and corresponding copy sheets. 



THE DUMMY— ESTIMATING SPACE REQUIRED 

The number of pages a certain article will occupy can be estimated fairly ac- 
curately by counting the words. Select the style page you like from our Bukresco 
Annual and count the number of words to line or inch, then give a corresponding 
number of words in your copy to same space. It will, of course, be necessary to 









>BL 



Bfr 



;h~Kr< 



13 






Twenty-one. 

















Fig. No. 1 



up (he dun 



editor manes up me aummy 
page, indicating by rough dia- 
grams the style, position, num- 
ber and size of the engravings 
that are to appear on the page 
and the spare left for type 
matter. 

Fig. No. 2 shows how copy 
is written for the printer and 
indicating the style of type 
composition. 









Twenly-two 



count the number of lines to the page as well as the number of words to a line. 
See page 124 for further instructions on how to estimate space. 



OVERSIZE ENGRAVINGS 

One important item in the preparation of a dummy is to keep all type matter 
and all engravings absolutely within the limits of the specified type page measure- 
ments. For instance, if a type page be 5 inches wide and 7 inches high, an engrav- 
ing, the face of which would be 5 inches wide, could not be contained in that 
space because of the extra I -8 inch on each of the four sides of the block. For this 
reason the engraving should be ordered 4 3-4 inches wide instead 5 inches. Editors 
often expect the printer to embody in a type page of dimensions say, 5x7 inches, a 
halftone of full page size and a page title to go above it, as well as a legend or de- 
scriptive title in type to go underneath. This, of course, is plainly impossible. 
It makes trouble and surely delays the work of the printer, who must charge 
for the time required in the lock-up department where the other 15 pages in the 
16-page form must be built up to correspond with the oversize page in order that 
the one page too large may be "locked up" in the form, and the appearance of 
such a page is miserable and reflects discredit on the Editor-in-Chief as well as 
on the printer. Over size engravings will be found on pages 73, 74, 97, 133. 



PAGE HEADINGS 

Page headings that do not run throughout the book should be specified roughly 
by means of a pencil line across the top of the diagram of the page, and above such 
line should be written the number of the original zinc etching, repeated for each 
page on which it is to appear. Such designation causes the Editor-in-Chief but 
little trouble and will indicate plainly to the printer on just what pages it is desired 
to have the page headings appear. See samples page 1 20. 



EDITING DUMMY 

The dummy should be given just as careful editing by the Editor-in-Chief, after 
its completion, as the copy. When the Editor-in-Chief is thoroughly satisfied 
that both the copy and the dummy are perfect, and that they correspond one with 
the other, to the last detail, he is ready to forward his copy and the dummy to the 
printer, never before. It is a doubly safe precaution to send to the printer one set 
of the engraver's proofs, on each of which the Editor-in-Chief has marked, and 
afterward checked, the number, the page on which it appears, and the name or 
the title, if any. No Annual was ever printed in which some little error did not 
creep in. This method of sending the engraver's proofs to the printer will bring 
the possibility of such errors to a minimum hardly appreciated by the Editor-in- 
Chief unless he has served before in such capacity. 



^ ^H^^W^^W^^K L^ 




Twenty-three 



THE DUMMY IN THE BINDERY 

In the bindery, as well as in the print shop, the dummy is of great importance. 
After the type is all set and corrected, paged, revised, locked up into forms and 
sent to the press room, the dummy is passed on to the bindery, where it is the 
only guide to the book binders in the placing of inserts. If the Editor-in-Chief 
has failed to follow these instructions, he will probably find the inserts missing, 
no matter how carefully specified in the contract. 

The position of each insert, whether it be steel engraving, photogravure, photo- 
graph, color print, or sub-title on paper of different color, must be given careful 
attention. The printer requires that a leaf be tipped with library paste or mucilage 
into the dummy at the exact place where any insert is to appear in the bound book. 
Never use one of the numbered leaves of the regular dummy to represent an insert. 
On this leaf should be, on the side representing the printed side, the description 
and a statement to the effect that this insert is to face page 00. Always remember 
that an insert must come between an even numbered page preceding and an odd 
numbered page following it. It would be ridiculous to try to place an insert, for 



instance, between pages 1 and 2. 



POSTAGE 

Sometimes postmasters in smaller towns do not thoroughly understand the 
government provisions for handling proofs and manuscripts. Manuscript is first- 
class matter when it is sent by itself. Proofs and author's manuscripts are third- 
class matter, but new manuscript cannot be sent in the same package as old manu- 
script and proof for the old manuscript. New manuscript should be sent separate- 
ly with first-class postage. Any letter connected with proofs or old manuscript 
should be sent separately, first class. Corrections and instructions to printer 
can be made on proof sheets and paragraphs added or taken away from the manu- 
script, but a new article or a new chapter of manuscript would subject the entire 
package containing it to first-class postage. For the ordinary return of proofs 
and original manuscripts connected with such proofs, the rate is third class. 

Corrections of proof sheets may embrace the alterations of the text or insertion 
of new matter, as well as the correction of typographical and other errors, and also 
any marginal instructions to the printer necessary to the correction of the matter 
or its proper appearance in print; such corrections should be upon the margin of, 
or attached to, the proof sheets. Manuscript of one article may not be inclosed 
with proof or corrected proof sheets of another. 



CORRESPONDENCE AND SHIPPING COPY 

All correspondence in reference to ordering of engravings should be done by 
one certain member of the staff, preferably one who is systematic, careful and a 
legible and logical writer. 



Twenty-four 









Our experience has been that sometimes great confusion and serious loss of 
time and annoying errors occur if one editor sends orders, another writes letters 
about copy, and possibly another gets the proofs. 

While it may be highly desirable to have one member of the staff take charge 
of all snaps, another all portraits and groups, another all drawings, etc., they 
should all report to the official order man and let him send in the copy and orders. 

While the above refers to the handling of orders, we expect that matters of a 
strictly business nature, finances, etc., will be handled by the Business Manager 
or Editor direct. We also want the Art and Photograph Editors to feel free to 
write us direct when any special information, instructions or assistance is desired 
in reference to properly handling drawings or making photographs. 



ENGRAVINGS— STYLES OF 

When the photographs have been made, the next step is engraving. Illustra- 
tions for college Annuals, as in most catalogs, books and magazines, are usually 
made by the photo-engraving process. Occasionally a photogravure or steel 
engraving is used in an Annual as an insert, but the reproductions are usually from 
photographs or drawings. Photo-engravings fall into two general classes, half- 
tones and zinc etchings. Photographs and wash drawings are reproduced in 
halftones; pen and ink drawings in zinc etchings. 



COLOR WORK 

Color work is of two kinds. First, reproductions in colors by the Halftone 
Color Process and second, engravings made by the Zinc Etching Process from pen 
drawings. The first must be used to reproduce wash drawings or oil paintings in 
colors and is much the more expensive. The second is used to reproduce pen or 
line drawings and a separate plate is made for each color, but the process is com- 
paratively inexpensive if drawings are properly made for reproduction. 



HALFTONES— HOW MADE 

The halftone is the most used in an Annual. It is called a "relief" plate, 
the printing surface of which is made up of a pattern of lines and dots. The pro- 
cess involves photographing the picture or object through a "screen" which breaks 
up the flat tones of the copy so that white, for instance, is represented in the plate 
by a pattern of dots so small that the printed impression of them is barely per- 
ceptible, while black is represented by heavy cross lines so close together that in 
the printed impression it has the appearance of solid color. Examine closely a 
halftone in one of your Annuals and these small dots and lines can be seen. 

Every graduation of color between these extremes is faithfully rendered, the 
light gray by small dots, widely spaced; darker gray by larger dots, more closely 



3 



W^ViL^YtL^I 






: ^J+^^^>M^^^J 



Twenty-jive 




This in. mi. of Maxim- Ktliott is mudc in seven different halftone screens. The coarse, 65 line 
shows plainly how (he picture when photographed through u screen is cut up into dots and lines that giv 
a printing surface. 



spaced; still darker gray by cross lines, widely spaced; very dark gray by heavier 
lines, closer together, etc. 

The engraver's first step in making a halftone or zinc etching is to make a 
photographic negative from the subject to be reproduced; the second step is to 
make a print from this negative on a thin sheet of polished metal, instead of on 
photographic paper, as in ordinary photographing. This print on metal is then 
etched by a chemical solution. When etched and finished, the thin piece of metal 
is nailed to a block of wood, and after being trimmed, planed, and proved, is ready 
to be set up with the type by the printer. 



SIZE OF COPY 



Every subject from which a halftone or zinc etching is to be made should be 
larger than the plate is desired to be. It is not absolutely impossible to get good 
results when plate is the same size as the copy, but often is difficult. Enlargement 
is sometimes possible but inadvisable. Note enlarged portrait of boy on page 113. 

Keep in mind always that the ratio of the greater dimension of a photograph 
or drawing to the greater dimension of the plate is the same as the ratio of the 
lesser dimension of the photograph or drawing to the lesser dimension of the plate. 
That is, if from a photograph ten inches wide and eight inches high, there is ordered 
a plate five inches wide, that plate will be four inches high. 

Photographs and wash drawings are reproduced in halftone. Crayon, pencil 
and charcoal drawings are reproduced in halftone usually, but if the lines are suffi- 
ciently strong, it is sometimes possible to reproduce them in zinc etching. 



STYLES OF FINISH OF HALFTONES 

Halftones can be made in several styles and finishes. The square or rectangular 
finish is the most commonly used, and prices on the standard scale are based on 
halftones of this character. 

Halftones can be made in ovals or circles at an additional charge of twenty- 
five per cent, as a portion of the plate has to be cut away by hand. 

Outline and vignette halftones can also be made at an additional charge of fifty 
per cent for these styles of finish. The cut-out or outline halftone has all of the 
background cut away, leaving the figure standing out sharply against the white 
paper for a background. A vignette halftone is made by shading off the back- 
ground gradually until there is no perceptible line of division between it and the 
paper on which it is printed. In ordering halftones you should always specify 
the style of finish desired. 

Examples of square finish halftones can be seen on pages 28 and 41 ; oval half- 
tones on page 28; outline halftones on pages 59-104; and vignette halftones on 
pages 28-38. 



fU ^ i^ M ^riii^^L^ 



►T^J+T^rtT^^W^J?^ 



Twenty-seven 







Figure Number One shows a vignette style of engraving, a very effective and beautiful finish which is 
only advised when the picture has a light background. 

Figures Numbers Two and Three show oval and round styles. These are in many cases much better 
than the square finish shown in Figure Number Four. 

The vignette style costs fifty per cent more, and the oval and round styles twenty-five per cent more 
than the square finish, the reason being that all plates except the square finish have to be cut out by hand 
while the square plates are cut out on a machine. 



Twenty-eight 




This picture was sent in carelessly packed and not protected by heavy boards. As all cracks or defects 
of every kind show in a halftone, we had to send back for another print, causing delay and loss. Pack your 
pictures carefully. 

ENGRAVER'S COPY— DEFECTS 

The engraving process is photographic, hence all defects, spots or cracks in a 
drawing or photograph will be reproduced in the halftone. Defective drawings 
or photographs can be sent to our Art Department and retouched, but this is quite 
expensive. No retouching will be necessary if care is exercised in the preparation 
of photographic copy. See pages 29 111 113. 






DUOGRAPHS 

By a duograph is meant two halftone plates made from one copy and usually 
printed in black and one tint, or two shades of the same color, the two plates being 
made with different screen angles. 

Sometimes a combination of a halftone printing in black to show the detail 
of the copy, and one or more zinc plates or "tint blocks" for coloring parts of the 
picture, is used with good effect. 



s 




Twenty-nine 



HALFTONE THREE COLOR PROCESS 

This process is used when it is desired to reproduce an original colored painting 
or drawing in all of its natural colors. The process is founded on the well-known 
fact that all colors and shades of colors can be made by red, yellow and blue, or 
by a combination of two or more of these colors in varying proportions. It follows 
that if all shades can be made from these three primary colors, these colors will be 
found in every existing shade. See three color process opposite page 53. 

The copy is first photographed through a filter that keeps out the red and blue 
light rays and allows the yellow rays to pass through the lens onto the photographic 
plate and make a negative in which the yellow predominates. Similarly, negatives 
are made for the red and blue plates. 

From these negatives halftone plates are made and when these plates are printed 
in their order and with the proper color of ink one over the other, the inks mix in 
the proper proportions and a reproduction of the original in all of its shades and 
tints of color is secured. A black plate is sometimes added to give sharper defini- 
tion, more detail and more life and beauty to the reproduction. This process 
should be used only in reproducing some unusually fine pieces of coloring. 

One-color photographs of buijdings, scenery, etc., are often shown in colors. 
Color postcards are an example of reproductions of this kind. 



ZINC ETCHINGS 

Zinc etchings are copies of originals which are made up of lines, grains or stipples, 
which are translated by a photographic negative on to a zinc metal plate. The 
lines or stipple which are desired to print are left in relief and the parts that are 
not to print are etched by acid below the surface. All copy for zinc etchings 
must be positive black and white and there can be no intermediate tones or shades 
as in a photograph. No screen is used in making zinc etchings. The reason a 
screen is used in making halftones is to cut up the different tones or shades of 
the picture into dots which give a relief printing surface in the plate. 



COLOR ZINC ETCHINGS 

Cartoons, department titles and other illustrations are often desired to print 
in more than one color, and very beautiful and attractive designs can be reproduced 
by the use of zinc plates. In making color plates by this process the drawing must 
be made properly for color reproduction and is not handled in the same way as 
for one color plates. The proper method of making drawings is explained in the 
Art Editor's Section and is illustrated by the Freshman cartoon on pages 60 to 64. 



IDENTIFICATION OF ENGRAVINGS 

In order to prevent mistakes and the use of wrong engravings, and in order to 
save the printer endless trouble in identifying cuts, a careful system must be 





Sample of zinc etching from a good pen drawing. Note how strong 
the lines are. Drawings of this character reproduce better than thin, 
weak lines and such an illustration adds strength to the page. 



Bfi 



ID 









Thirty-one 



used. Sometimes a printer will have on hand thousands of engravings to be used 
in many annuals, and additional ones coming from the engraver every day, so you 
can see how easy it is to make mistakes. 

If our order system is intelligently used according to directions, mistakes 
seldom occur and the printer is saved much trouble because each cut is marked by 
us with the name of the Annual and the number of the picture as you give it to 
us on the picture and in the order blank. 

The printer is not supposed to, and in fact does not know one face from another, 
one building from another, or whether a department etching belongs to one Annual 
or another, except as each engraving is identified by numbers and names. You 
can see how important it is that you give full instructions, both on the picture 
and in the order blank, when copy is sent to the engraver. We furnish free a 
complete order system with stickers to be pasted on back of each piece of copy. 
It's up to you to use them and avoid trouble. 



HALFTONES— HOW TO ORDER 

When you get your first lot of copy ready to send to the engraver, study your 
order system and be sure you use the blanks as instructed. Use carbon sheets 
(carbon side down) and make all orders in triplicate. 

Engravers always mention the width of an engraving first and the height 
second. In order that there be no confusion, be careful to follow this method. 

To determine which is the width on various shaped engravings, look at the 
photograph in its correct position. The left to right dimension is the width, and 
this measurement is mentioned first. From bottom to top is height, no matter if 
it be the lesser dimension. This should be mentioned second. 

If you use these order books as intended, your printer is ready to set the type 
in galley form as soon as he receives your manuscript, for the pink sheet specifies 
to him the dimensions, number and name of each engraving. 

First: Mail the white sheet to the engraver in a separate envelope. Do not 
enclose the order in the package with the pictures because if the package should 
get lost the engraver would not know it until you enter complaint. If mailed 
separately, one or the other is almost sure to get in. Be sure to fill in all blanks 
at top of every order sent and see that numbers, sizes, description, etc., are plainly 
written in body of order blank. 

Second: Send pink sheet to your printer so he will have a complete list of all 
engravings you have ordered with number and description of each. He will need 
this to check up engravings when they reach him. 

Third: Leave the yellow sheet bound in your book so you will know exactly 
what copy you have sent to engraver and can refer to copies by number in case 
any correspondence is necessary. Before making out an order refer back to the 
previous yellow sheet and keep your serial numbers straight. 



Thirty-two 




list of HALF-TONE copy sent in 73/ '""'1; 

r. BUSH-KREBS CO., Louisville, Ky. L7^±-""" ! 

Namtof Annual /?U<£^Gmj^ -_ Same of College Ctr*LlL>) <Zcr€£eM. 
rail Address of SmitrWtW-GttSJJLe.&eifd-, //o^iZiylnMf.^ ^£r C 

/VOrt-r.c. rer/ac. Im mill.Sitan tint mrfoc; IS «» .art if/nil. J>.«/» /.t.'i..=.or. 


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ake order for halftones. 



Showing how to 1 

Fourth: Begin numbering halftone copies with Number One and on up to 
the end. Use a separate order sheet for each separate shipment of copy, even if 
you find it necessary at some time to send a single picture in an order. You have 
plenty of sheets and can get another book if necessary. 

Fifth: When all ready to make a shipment of copy and before wrapping it 
ready to mail, go over each piece of copy and see that a sticker is securely pasted 
to it and that each sticker is fully and legibly filled out. When satisfied that each 
piece of copy is properly marked, check copy with the order blank and see that the 
two correspond in every particular. 



Thirty-three 



K 



list of ZINC ETCHING copy sent in /Vy *"""££ 

to BUSH-KREBS CO., Louisville, Ky. Z'Z^r"" 

Sent Via XrUHtA&cl' Oa>*C£& (S&aJ Vote Sent •&&? ■ 3 — - k,^^,,^^^^ 
Nome of Annual CfUnJZcX£££_ Name of Colteif.'7Su-™*stU- Co&z&l. 
roll Address of Sender h&Vt&jtAGXt&i.., ■dZu\Aj>^r^ , i7. C 

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Showing how to make order for zinc etchings. 

Sixth: When copy is ready to send in, wrap the different kinds of pictures 
in separate packages or envelopes, if thought best; then get two pieces of heavy 
double-face corrugated board (both pieces as large as the largest piece of copy), 
place the copies between the boards and wrap with enough of heavy wrapping paper 
so that the package will be well protected in the rough handling it will get in the 
postal cars. Sometimes it will be desirable to send all the small pictures in one 
package and the very large copies in another. Large copies must be particularly 
well packed to prevent the edges from getting broken, torn and wrinkled in transit. 



Thirty-four 



Do not roll or fold any copy, either drawings or photographs, from which 
halftones are to he made. 

Seventh: When ready to mail, print the engraver's name, street address and 
city very plainly on the package in ink so it cannot get rubbed off. Put your own 
name, name of your Annual and your address in the upper left-hand corner. 

Eighth : Photographs, drawings and other copy, with names, instructions, 
etc., written on copy, take first-class postage. Be sure you get postmaster to 
weigh each package and put on enough stamps, but don't make a bad guess and 
pay more than the amount required. Mail your order in a separate envelope. 



ZINC ETCHINGS— HOW TO ORDER 

First: A separate book of order blanks is furnished for ordering zinc etchings 
to be made from pen drawings and other line copy. 

Second: Note that you are to begin numbering copy for zinc etchings with 
Number 1001 and run your numbers on up. This is to distinguish zinc etchings 
from halftones, which begin at number one. 

Third: Read carefully "How to Order Halftones" for these instructions as to 
the identification of copy, packing, shipping, postage, etc., all apply to copy for 
zinc etchings the same as to halftones. 

Fourth: It is not necessary to give style of finish for zinc etchings as only one 
style is possible, and that is an exact reproduction of the copy. You must, how- 
ever, give all other information required in the zinc etching blank. 



OLD ENGRAVINGS 

You may wish to use some old engravings you already have, such as campus 
views, buildings, etc. The engraver has no interest in these, but they should be 
sent direct to the printer and should be numbered 5001 and up. For your own con- 
venience you can keep a record of these cuts sent to printer on the last sheets in 
your order book. Send the pink sheet to printer and keep yellow sheet for your 
record. Write in ink on a piece of paper the number, description and page in the book 
where the cut is to appear and paste it on back of the cut, or if small cut wrap the 
paper around the cut and tie securely. 



SENDING COPY TO ENGRAVER 

On each piece of copy, photograph or drawing, paste a sticker properly filled 
out. Write out your sticker with pencil and be sure it is correct, giving the serial 
number of cut, name of Annual, style of finish (square, oval, vignette, etc.); also 
size in width and height of engraving. Check stickers carefully with order blank 
and see that the information on each is identically the same. If the sticker calls 
for one thing and the order something else, it means delay while we write to find 
which is correct. 




Thirty-five 



Be sure no engraving is ordered larger than the specified type page size, allowing 
for the 1-8 inch blocking bevel on four sides of the cut. Halftones should be not 
larger than 4 3-4 x 6 3-4 face measure and 5x7 block measure. 

By writing stickers first the chance of injuring the photographs by pencil marks 
is eliminated and the copy is much easier to handle. See illustration on page 1 1 I 
showing how heavy pencil marks spoil the picture. 

When you send in a number of photographs or snaps for us to make up groups, 
put all pictures for one group in an envelope with a rough diagram showing how 
you want the pictures placed in the group. Put your sticker on the outside of 
envelope, properly filled out, to show size, style, etc., of the completed group en- 
graving. If necessary, identify each individual picture and its position in the 
group by letters or numbers. 



annua° f 77U. C Aa ynZucKaPh , 



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IN. HIGH 



3F F.NI3H Cy/qjA /?Al^ 



SUBJECT. C/^ . 



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j/vvr* c£^UL. &s6*ifcaiA o 



BUSH-KREBS CO., incorpor 

COLLEGE ANNUAL EXPERTS 
LOUISVILLE, KY. 



One of these slickers should be attached to every piece 
of copy sent to the engraver. Fill the sticker out before 
attaching il to copy then there will be no danger of the 
writing showing through on the face of the picture. 

He sure that all instructions, especially sizes, are cor- 
rect and that the same number and description used on 
the copy are put in the order blanks. See pages 33 and 
34 for illustrations showing how to make out orders. 



ENGRAVER'S AND PRINTER'S TERMS 

We give a list of the most commonly accepted terms used by engravers and 
printers, and if you will familiarize yourself with these, annoying mistakes will 
be avoided. You will find these on pages 139 to 142. 



Thirty-six 




BUSINESS 
MANAGER 



Business Manager's Section 



10. 

11. 

12. 
13. 
14. 
15. 
16. 
17. 
18. 
19. 
20. 
21. 
22. 
23. 
24. 
25. 
26. 
27. 
28. 



CONTENTS 

Page 

Importance of the Position 39 

Causes of Failure 39 

Let Contracts Early 39 

Margin of Safety in Time 40 

Margin of Safety in Finances 41 

Business Record 42 

Banking 43 

Bookkeeping 45 

Financing the Annual 46 

Subscriptions 46 

Assessments 47 

Alumni . . .' 47 

Advertising Campaign 47 

Advertisers' Bulletin 49 

The Financial Estimate 49 

Excessive Costs — How to Prevent 49 

Extra Assessments - 50 

Extra Copies 50 

Receiving the Books 50 

Engraving Prices 51 

Checking Bills 52 

Start Early 52 

Start Early Bulletin , 52 

Reasonable Time for Engraver and Printer 52 

Collecting 53 

Wasting Postage Stamps 53 

Engraver's and Printer's Terms 53 

Ordering Engraving and Printing 53 






13 



■ 



[Bush-Krebs Co.<||g| 






Thirty-seven 




fcli~vS 







Vignette halftone for use in View Section. The photograph must be prepared by retouching before 
halftone is made. A beautiful view section adds wonderfully to the interest of the book. 



Thirty-eight 




There is no position on the Annual staff that is of more importance than that 
of Business Manager. He is the man who is responsible for the success of the book. 
If the book is not a financial success, it is usually considered a failure, even though 
it may be well edited and a beautiful specimen of engraving and printing. 

The average Business Manager does not realize the responsibility that rests 
on him until too late, and then he sees the value of all the time lost in the fall when 
he should have been working hard to raise the money for the publication of the 
Annual. 



CAUSES OF FAILURE 

We have learned from years of observation that, when an Annual fails, the 
Business Manager is responsible four times out of five. There are a number of 
causes to which this can be attributed: 

First: The failure of the Manager to recognize his responsibility and get 
down to hard work. 

Second: Failure to get as many subscription and advertising blanks signed as 
early as possible in the school year. 

Third: Failure to collect all, or at least half, of the subscription money in 
advance and deposit it in a bank. 

Fourth: Failure to estimate correctly. Contracts with engravers and printers 
should be made as early as possible so you can tell what your expenses will be, 
and can proceed to raise the necessary amount. By all means work out a budget 
and raise at least twenty per cent more than your estimated expenses, then you 
will make your book a financial success. 

It is a difficult undertaking to try and raise additional money to make up a 
deficit after the book has been printed and delivered. The excuse usually offered 
in defense of getting book subscriptions signed late is, "After we have a printed 
book to show we can more easily sell extra copies." This is a great mistake be- 
cause many, after they satisfy their curiosity by seeing a book, will refuse to buy. 

If anyone really wants a book, they will subscribe just as quickly in September 
as they will later. If they don't think enough of their school to subscribe for the 
Annual early so you can finance it properly, then I certainly would not think of 
ordering extra copies for them. 



LET YOUR CONTRACTS EARLY 

There is no real reason why your engraving, photographing and printing con- 
tracts should not be placed very early and many good reasons why they should. 




^^W^H^Jtf^. 



Thirty-nine 



Particularly should the engraving con- 
tract be signed early because the en- 
graver is able to give great assistance 
in the early part of the work, so our 
advice is to let your engraving con- 
tract first. For instance, when you 
decide to give us your engraving con- 
tract, we immediately place at your 
service a department ready to help 
plan every phase of your book. 

We lay out your dummy and can 
help you choose a good photographer 
and put you in touch with a reliable 
college annual printer, often times in 
your own locality. 

We have often helped Business 
Managers and Editors avoid costly mis- 
takes because they began to work with 
us early. Late in the day things that 
are done wrong cannot well be undone. 
We know how many pages, and how 
many engravings, and how much color work, and what kind of printing and binding 
can be put into a book for a given amount of money. We know just how the photo- 
graphs should be made to get the best results. We can tell you how to plan a bud- 
get so you can hold the cost of your Annual inside the sum you specify, or we can tell 
you how to raise a fund if your school has never published an Annual before. 




A scene like lhi9 breaks the monoto 
of a plain type page. 



MARGIN OF SAFETY IN TIME 

Making a College Annual is like building a house. The architects and con- 
tractors devote much time and thought to the work before actual building begins. 
In the building operations flaws are invariably found and delays of one kind or 
another always occur. Exactly the same conditions obtain in making a College 
Annual, from the time the Board is organized until the finished book is delivered. 

A margin of safety as to time allowed must be figured in all calculations. If it 
is intended to put the book on the market April 20, the Business Manager should 
set as his date and enter the delivery date in his contract and specifications as 
April 5. It is safe to state that two weeks must be allowed for unforeseen delays 
of one kind or another in the printing and binding end of the work. There will be 
delays in the preparation of copy, photographs, drawings, etc., over which the 
Editor-in-Chief will find he has no control. 



Forty 




First impressions. If the first glimpse of the College town is one for pleasant 



(, show it in the Annual. 



Our advice to the Editor-in-Chief is if you want a good book which will do 
you credit, make your dates very early; and to the Business Manager make your 
contract for delivery just as early as possible, then hold your Editor-in-Chief 
right down to his dates. On such a schedule, everyone concerned in making the 
book can get through with comparative ease, including the engraver and printer 
who have their own reputations at stake and who, above all other persons connected 
with the making of an Annual, are most unhappy over a poorly engraved, printed 
and bound specimen of their work. 



FINANCIAL MARGIN OF SAFETY 

We have shown why the Business Manager should allow for a margin of safety 
in the all-important matter of time. 

Just a word about the Financial Margin of Safety. What you would like and 
what is necessary for the success of your book are sometimes greatly at variance. 

Your work in handling the business end of your Annual should be a valuable 
experience in the acquirement of proper business training and principles. If you 




Forty-one 



are provident in this work, if you cut down all expense to a reasonable minimum 
and omit enough of the luxuries in your specifications, both as to printing and en- 
graving, to hold the costs down to twenty-five per cent less than your estimated 
receipts, you will, with good luck and strict attention to business, probably come 
out even financially. You will find extras creeping in unless you rule with an iron 
hand and refuse your Editors all the luxuries in fancy additions that will surely 
occur to them as their work progresses. Permit only the extras that are profitable, 
such as more pages of advertising for your Advertising Manager or more copies for 
your Subscription Manager. 

There is not one College Annual in ten the bill for which does not include a 
lot of extras, through no fault or wish of either the engraver or printer. Did any- 
body ever build a house without a heavy percentage of extras? 

Don't forget that some books subscribed for are not paid for in full, and some ad- 
vertising accounts are not collected, so allow a reasonable Margin of Safety. 



BUSINESS RECORDS 

Handling the business end of any Annual affords a splendid opportunity for 
experience in comparing the different methods and systems of various business 
houses. The little courtesies of commercial correspondence may be observed in 
the letters of almost any corporation. It is interesting to note the varying styles 
of composition. One feature will be apparent immediately, viz., that in this age 
no business can be carried forward without system and courtesy. 

The Business Manager must begin and continue throughout to back up his 
work with real system. Verbal and telephone agreements should be confirmed in 
writing with copies retained for filing, if they are of any consequence whatever. 
No letter, telegram or contract should be forwarded without keeping a clear copy, 
bearing the date, for filing. Bookkeeping records should be kept so accurately 
and posted so promptly that the state of affairs and the finances of the enterprise 
may be seen in a moment. 

Provision should be made for correspondence, a typewriter rented, if not owned 
(Napoleon lost Waterloo because of illegible handwriting), a supply of stationery, 
onion skin copy paper, carbon sheets and a file box for bills, letters received and 
copies of letters sent. Correspondence with each firm should be filed in order of 
consecutive dates, each letter received followed by the onion skin carbon copy of 
the reply, so that when all is ended each letter and each reply will be found syste- 
matically filed in regular sequence. 

A daily card calendar should be used for memoranda with items for future at- 
tention carefully tabulated to turn up for action on the proper date. If a separate 
card be used for each such item, it can be pushed ahead from date to date, with new 
entries thereon, if impossible to attend to the matter on the first date, and thus the 
item will not be lost sight of. Promises of photographer, engraver, printer and 



Forty-two 



advertisers, should be tabulated separately in this manner. No human brain can 
keep all such items in order without some such assistance. We know of nothing 
in all the bookkeeping and filing system, quite so practical or so productive of good 
results, as the little daily calendar card box. It is worse than useless, however, 
if not looked into every day. 

If Business Managers would only take our word for it (many of them do), it 
is far easier to keep the business records accurately and up-to-date, with a ' place 
for everything and everything in its place, ' than to allow correspondence, bills 
and memoranda to pile up on a desk where they are soon covered with dust or 
blown on the floor, or to be thrown haphazard into a drawer or box. By having 
everything so filed that the fingers can be placed upon any letter, contract or bill 
in an instant, much time will actually be saved, to say nothing of the satisfaction 
which attaches to having a real system. 



BANKING 



Go to your banker and tell him you are the Business Manager of the Annual 
and wish to open an account. He will give you a bank book in which will be entered 
all your deposits as you make them from day to day. This book is your receipt 
for money deposited, so never make a deposit without taking your book. 

He will also give you a check book. One with fifty to one hundred checks 
will be large enough for most schools. If you have never done business with a 
bank, ask the banker to tell you all about it. 

Immediately take your check book and with a pen number the first check 
and its corresponding stub 1 ; the next number 2, and so on in sequence until every 
check and stub has its proper number. 

Next enter on stub No. I, in its proper place, the amount of your deposit as 
shown in your bank book. When check No. 1 is issued, take the amount off on 
the stub and carry the balance forward to stub No. 2. As future deposits are 
made and checks issued, follow the same system. 

Be very accurate in getting the amounts and the additions and subtractions 
correct, otherwise there may occur an embarrassing mistake and you may issue 
a check which will be sent back marked "Insufficient funds." To safeguard the 
accuracy of your bank account, we would suggest asking the bank to balance up 
your book once a week so you can catch quickly any errors that might occur. 

Do not pay out any cash. Every cent received should be deposited, and no 
accounts, even small ones, should be paid except by check. Daily deposits should 
be made when cash or checks are coming in rapidly. 

The Business Manager will have certain small expenses, such as postage, tele- 
grams, express charges. These petty cash items he should enter in a small book, 
and when they amount to enough, he should pay himself back with a check made 



Q^VA^'VA^ VA^M^ 




Forty-three 



CASH BOOK 




CASH BOOK 



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SUBSCRIPTION RECORD 



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There is no part of the Business 
Manager's work that is more important 
than correctly kept accounts. 

We illustrate paces from our account 
book which is made especially for the 
keeping of college annual accounts. 
Note that when a partial payment is 
made on a subscription a blank line 
is left under the name for the balance 
payment. 

Full instructions for account keeping 
arc in the book. 



forty-jour 



payable to himself and mark the stub ' See Petty Cash Account. ' If the items 
are wanted in the future, he can refer back to his little book. 

When you issue a check, it has to be endorsed by the person receiving it before 
the bank will pay it, so the check becomes a receipt. At the end of the month the 
bank will give you back all the canceled checks and these should be carefully filed 
for future reference. 

All careful bookkeepers fill out their stub first before filling out the check. 
This prevents a common mistake of filling out the check and tearing it out with 
the stub left blank and no accurate memory of what the check was made for when 
later the error is discovered. 

It is well to write on each stub and on the bottom of the check a few words 
explaining what the check was issued for. Too much care cannot be used in 
writing checks and keeping your check book entries straight and accurate. 



BOOKKEEPING 



Besides the keeping of your finances straight with the bank through your check 
book, there are other very important records to be kept. 

We have devised a very simple, yet effective, account book designed especially 
for keeping the accounts of a college annual. One of these books is given to every 
Business Manager who has a contract with us. 

The first section of the book has pages ruled to keep a record of every book 
subscription taken, giving the date, name and partial or full payment. 

The second section is a record of cash receipts and cash payments very con- 
veniently arranged. 

The third section gives a record of all advertising contracts, with date, name 
of advertiser and amount, and shows whether owing or paid. 

The fourth section is to enter all bills from photographer, engraver and printer 
with date, name and amount due or paid. 

The most valuable features of the book are blanks in which to make in advance 
an accurate estimate of your probable income from various sources and an estimate 
of probable expenses. With your accounts accurately kept in this book, frequent 
comparisons can be made and you can tell from time to time whether your re- 
ceipts are coming up to estimate or not. If you are falling behind on any items, 
an extra effort can be made to catch up. 

By comparing the records of expenses with estimate, you can stop any excesses 
before it is too late and prevent any probability of financial failure. 

No business, not even a college annual, is safe without accurate bookkeeping. 

The book mentioned above is illustrated on page 44. 



-_...-, : 




Forty-five 



FINANCING THE ANNUAL 

The first duty of the Business Manager should be to call the staff together for 
the special purpose of making an accurate canvass of all the sources of income. 
Each and every item should be carefully considered and when the sum is deter- 
mined it should be conservative, i. e., you should not over-estimate any item. It 
is better to secure more than you estimate rather than less. Over-estimating your 
income is a fatal mistake. 

To make this work easy and accurate, use our Financial Statement Blank which 
gives all the usual sources of income, but don't stop at this. See if you can't devise 
other methods of raising money. 

You should at once organize and train your assistants, giving to each some spe- 
cific duty and see that they get on the job and keep at it. 

Very early in the year you should have collected and in bank sufficient funds 
to meet all bills promptly and take advantage of cash discounts. Have your in- 
come in bank, not in the pockets of your subscribers, or in the treasury of your 
different societies. Push collections hard. 

The Business Manager, should not be worried by slow payments. The classes 
should guarantee against loss by paying promptly what they owe. 



SUBSCRIPTIONS 

1 ry to establish a proper price for your book; one that will be large enough to 
give you a proper income from this source, but not so high as to prevent sales. 
Prices run from $4.00 to $7.50 depending on the size and style of the book. 

The subscription campaign should by all means be started in the fall or early 
winter. It is not hard to secure a signature to a subscription blank and to get the 
few dollars for the half payment at that time. The other half will be paid when 
the book is delivered much more cheerfully than if no subscription had been taken 
in advance. It is our candid opinion that 25 per cent to 50 per cent more books 
can be sold in this manner. The Business Manager will enjoy that confidence which 
a bank account always insures, will have ample funds with which to meet bills 
as they come in, and will also find his work proportionately less irksome. One 
advantage of this system is that it will offer some idea as to the probable revenue 
to be available from the sale of the book. 

Many Annual Managers are also able to sell to the College from twenty-five 
to a hundred books, to be sent out to high schools and private academies in its 
territory. Such books are, as far as the prospective college student is concerned, 
the very best possible advertisement, especially if they show the jolly side of 
college life and a lot of enthusiasm in athletics and college spirit. 



Forty-six 








ASSESSMENTS 
Some colleges charge a very high 
price for their book and make no 
assessments. We consider this a 
bad plan because it cuts down the 
sale of books and deprives many 
students of the pleasure of owning 
this souvenir of their school days. 

In practically every institution 
where a successful Annual is pub- 
lished, the assessment plan is fol- 
lowed very satisfactorily. 

Every individual represented in 
the Annual should pay a reasonable 
price to cover cost of his space and 
picture. Every class and organiza- 
tion should be in the Annual and 
should pay the cost of representa- 
tion, and some of them should pay 
a greater proportion where they are 
well fixed financially and can afford 
to be a little liberal in helping out 
on the Annual. 
In figuring the cost of space in the Annual, you cannot divide the total cost 
by the total number of pages and assess on that basis because there are many 
pages, such as jokes, stories, athletic news, etc., that are in the book with no charge 
to anybody, so in figuring the value of space it must be high enough to cover the 
cost of these free pages. 



ASSESSMENT FROM ALUMNI 

In some of the fine old colleges, where the student body is small in number 
and the alumni is strong and loyal, it would be impossible to bring out an Annual 
were it not for the subscriptions of the Alumni. This source of revenue is hardly 
touched by many Annual Boards. 



ADVERTISING CAMPAIGN 

Many large annuals display but little advertising. Sometimes it seems im- 
possible to get more than a few pages in certain college towns distant from large 
cities. In cities there are so many retail merchants' associations or other organiza- 
tions of business men whose advertising must be approved by some agent or com- 
mittee, that it seems harder to fill space each year than the preceding year. For 



Forty-seven 




A pleasing group in an attractive setting. 

this reason there should be an Advertising Manager on each Board. He should 
be selected for some previous successful business experience or for his ability to 
approach prospects without fear and full of enthusiasm about the advantages of 
his advertising medium. He should not be satisfied with local advertisements 
only. He should carry on a letter writing and circularizing campaign for months 
in advance, addressed to all the various concerns who do business with the school 
or the students. His letters should be carefully thought out and give good rea- 
sons why an advertisement in the Annual will bring business for the advertiser. 
Ten or twenty pages more space will be the reward of such a campaign, if intelli- 
gently and enthusiastically carried forward. The Business Manager should be 
relieved of this work. The Advertising Manager should be exclusively responsible 
for the advertising and he should have no other work. If the book be large, he 
should have assistants and the local territory to be canvassed should be divided. 



Forty-eight 



It is well to devote about half the space in the advertising section to a calendar 
of college events, jokes or humorous cartoons. They add zest and are a splendid 
talking argument when interviewing an advertising prospect because they call 
attention to the advertising pages. 



ADVERTISERS' BULLETIN 

It will be a big help to the Advertising Manager if a bulletin be conspicuously 
posted giving a list of all the merchants who have signed contracts for space with 
a notice asking the students to patronize the advertisers in the Annual. Just as 
soon as a merchant signs a contract, put his name and business on the bulletin 
and tell him what you are doing to send him business. This is an inducement to 
the local merchant who so often fails to see the good in Annual advertising. Such 
a display of advertising should be continued, if possible, for weeks or months. 

As soon as the advertising pages are printed, ask the printer to send you a few 
extra sheets and post these on the board in advance of delivery of book. This will 
show the advertiser that you are working for him every minute. 



THE FINANCIAL ESTIMATE 

There is nothing that so well safeguards the finances of an Annual as a care- 
ful and conservative estimate of all sources of income and expense before the 
book is started. To make this estimate easy and accurate a statement blank is 
furnished to assist the Business Manager and Editor in determining the sources 
of revenue and in making a correct and reliable estimate of income and expenses 
and for establishing a credit with the engraver and printer. Every source of rev- 
enue should be carefully considered and the best plans for raising money put into 
early execution. The students who solicit advertising should be instructed in the 
proper approach and sales talk before starting out and should be provided with 
advertising contract blanks. A care- fully prepared le.tter should be sent to all 
merchants in other cities who sell supplies to the school or students, enclosing ad- 
vertising blanks in duplicate and price of space you think they should take. Every 
financial transaction should be in writing to avoid errors and misunderstandings. 



EXCESSIVE COST— HOW TO PREVENT 

Our experience has taught us that the Business Manager has more or less 
trouble in preventing the Editor from spending more money than they can afford 
for engravings. The Editor often orders a lot of luxuries without the Manager's 
knowledge, and when the bills begin to come in, the Manager thinks he is over- 
charged. This is especially true when we make a dummy and give an approximate 
cost of engraving. The Editor makes additions, or changes the style or size of en- 
gravings which makes the cost considerably more than originally estimated. 

We have found one college which we believe has solved this problem, and there- 
fore pass it on to you. This college is one of the largest in the Southeast, and 



Forty-nine 



spends almost ten thousand dollars for their Annual. Owing to the large sum of 
money handled, they must use business methods in conducting their affairs. 

When the order for engravings is written up by the Editor and all copy ready 
for the engraver, the Manager checks it up carefully and estimates the approximate 
cost, and enters the same in a book which shows the costs on orders sent in to the 
engraver. When the Manager approves the order, he marks it 0. K. and signs 
his initials. This method will enable the Manager and Editor to work in harmony, 
and eliminate the friction caused by the Editor ordering engravings without con- 
sidering the cost. 

EXTRA ASSESSMENTS 
It is sometimes necessary to raise additional money after you have sent most 
of your copy to the engraver, in order to provide for something important which 
was overlooked when assessments were originally made. By the use of this method 
of checking orders the Manager can tell in advance when additional money must 
be raised. It is much easier to make another assessment before the book is printed 
and delivered than afterwards. 

ORDERING EXTRA COPIES 

Quite frequently the Manager 1 finds a greater demand for the Annual than was 
figured when the order was placed with the printer, and he wants to place an order 
for extras at the last minute. 

It is impossible to do this and secure books in exact accordance with the contract 
as to style and at the regular contract price, for these reasons: 

When your contract is received by the printer, he immediately orders the stock 
for binding the number of copies specified, or in some cases orders the covers made 
ready to put on the books. If a late order comes in for extra copies, he finds it 
impossible to get leather, cloth or cover paper of the same grade or color or to get 
extra covers if they are made outside his own bindery. In this event extra copies 
will have to be furnished with covers different from the one specified in the con- 
tract and he must be given this privilege. 

Under no conditions can extra copies be ordered after the first form of the 
books has gone to press. 

For the same obvious reasons it will be impossible to reduce the number of 
copies ordered and obtain any reasonable allowance for such a reduction 

From the above can be seen the great importance of an early and intensive 
campaign, and no possible sale of books overlooked. It might be well to stipulate 
that no subscriptions will be taken after a specified date, say December fifteenth. 



RECEIVING BOOKS 

It is the exception rather than the rule when the count on an Annual comes 
out exactly according to contract. In making books so many items enter that it 



Fifty 




seems almost impossible to complete the contract exactly as to number of books. 
There are often a few extra copies and frequently several copies short. You should 
accept these conditions at the prices mentioned in the contract for extra copies. 
Immediately upon arrival the packages should be opened in some quiet room 
where no one is allowed except the one or two persons authorized to receive and 
check the books. In this manner mistakes in count are less apt to occur than where 
a lot of enthusiastic students or members of a Board are anxious to see how the 
work appears. It is our advice that no books be delivered or placed on sale until 
after a sufficient number have been received to meet all requirements for the first 
sale. A very natural curiosity to see the book will stimulate sales. 



ENGRAVING PRICES 

All engravings are sold by the standard scale of measurement, which is printed 
on the back of your contract. It will enable you to check up your engraving bill. 
The price of a square finish halftone or zinc etching can be determined as follows: 
Place the engraving in the lower left-hand corner of the scale and the price will 
be indicated by the figures on the scale at the upper right-hand corner of the 
engraving. Halftones are one quarter inch larger each way than the printed 
impression. 

The upper or black figures on the scale give the price of halftones which are 
more expensive than zinc etchings. The lower or red figures are for zinc etchings. 






-=T CC"- rlS ^= 



Fifty-one 



Oftentimes there are quite a number of small engravings, such as individual 
portraits, cartoons, football players, etc., that can all be made at one time. If 
the pictures or drawings are uniform in size they can be photographed in bunches, 
the plates will be charged according to the special prices in the panel on the scale. 

If you wish to ascertain the price of an engraving in advance, just find the size 
on the scale the same as if the plate had already been made. 



CHECKING BILLS 

As a rule an Annual Staff never sees the engravings until the book has been 
printed and delivered. We always furnish duplicate proofs of the engravings 
just as soon as they are completed. 

When the proofs reach you with a bill, you can at once check the prices on the 
bill by measuring the proofs and referring to the scale. When checking up the 
prices by the proofs, please bear in mind that on all four dimensions of a halftone 
there is a bevelled edge one-eighth of an inch wide to permit the metal being 
tacked to the wood base, so that every halftone actually measures one-quarter of 
an inch larger each way than the proof indicates. 

If an error is found, return the bill at once with notations attached, giving en- 
graving number, charge on the bill and the scale price. If bill is found correct, 
0. K. it, enter in your book and file bill ready for payment. 



START EARLY 

No Annual can be a success if the work of anyone of the staff is delayed until 
it has to be done in a rush and at the last minute. The financial success of the 
Annual depends to a great extent on how early the book is delivered ready for sale. 
Read carefully what is said to the Editor on the subject on page 12. 



START EARLY BULLETIN 

To get the co-operation of the class and awaken interest in the Annual a "Start 
Early" bulletin should be posted early in the school term. We will furnish free 
such a bulletin nicely printed with space left for signature of Manager and Editor. 
Read about the bulletin in Editorial Section, page 14. 



REASONABLE TIME FOR ENGRAVER AND PRINTER 

It is very important that the engraver and printer be given reasonable time 
in which to do their work. You can't expect an attractive book that will sell 
well unless time is given to produce good work. 

Read what is said about this in the Editor's Section, page 14, and also how the 
printer handles copy after it reaches him. 



Fifly-two 



COLLECTING 

No business is ever a success financially unless close attention is paid to collect- 
ing, and it is up to the Business Manager to push this part of his work. 

Collect every subscription in advance — if not all of it, at least half the amount 
and the balance as quickly as possible. Do not wait for delivery of books. Col- 
lect all club, fraternity, faculty and other assessments as early in the year as 
possible, remembering that often it is the fellow who gets there first who gets 
the money when there isn't enough to go around. 

Your advertising contracts call for payment when the printer's proof is sub- 
mitted, showing the advertisement is set up ready to be printed. If you get your 
contracts signed early and get copy into the hands of the printer, he can often print 
the advertising section weeks in advance of the body of the book. 

By running a few extra sheets of such advance printing of the advertising 
section, the printer is able to send to the Advertising Manager one or two perfect 
prints of each advertisement, so that he can collect in advance of the appearance 
of the completed book. There is no extra cost attached to this and you can col- 
lect your advertising accounts, get the money in bank and have this part of your 
work out of the way before the books are delivered. 



WASTING POSTAGE STAMPS 

Many a dollar is wasted on Annuals because the Manager and Editor don't 
understand the different classes of mail matter and the postage required on each. 
Photographs and drawings, original manuscript, manuscript returned with proofs 
of same, all take different rates of postage and the Business Manager should see 
that no money is wasted by over-payment of postage and no delay is caused by 
under-payment. Read article on Postage in Editor's Section, page 24. 



ENGRAVER'S AND PRINTER'S TERMS 

We give a list of the most commonly accepted terms used by engravers and 
printers, and if you will familiarize yourself with these, annoying mistakes will 
be avoided. You will find these on page 139 to 142. 



ORDERING ENGRAVING AND PRINTING 

Either the Manager or Editor should place all orders and the engraver and 
printer should be informed early which one will attend to this very important 
duty, then let all orders go through the one selected. By all means use the order 
system furnished and carefully follow instructions. See Editor's Section for de- 
tails, page 24. 



^VA/^VA, 







Fifty-three 






kJ 



Art Editor's Section 

CONTENTS 

Page 

1 . The Art Editor 55 

2. Early Start — Importance of 55 

3. Planning the Art Work 56 

4. Following the Art Plan 56 

5. Artists' Materials 56 

6. Sample Drawings 58 

7. Errors to be Avoided (Do's and Don'ts — 58 

8. Pen Drawings for Zinc Etchings 58 

9. Pen Drawings — Shading 59 

10. Pen Drawings for Color Plates 62 

I 1 . Pencil and Charcoal Drawings 66 

1 2. Wash Drawings 66 

13. Combination of Photo and Drawing 66 

1 4. Panel Designs 69 

1 5. Grouping — Advantage of 75 

16. Grouping — Portraits by Engraver 75 

1 7. Grouping — Portraits by Students 78 

18. Grouping — Snaps by Engraver 83 

1 9. Grouping — Snaps by Students 84 

20. Grouping — How to Get Proportions 88 

2 1 . Reducing Pictures in Proportion 89 

22. Trimming Pictures 92 

23. Art Sections 95 

24. Other Things to Know 95 






Fifty-Jour 



The Art Editor 



The position of Art Editor is second to no position on the staff because a College 
Annual is primarily a picture book, and if the Art Editor does not do his work 
properly, the book will be a failure in spite of the best efforts of the other members 
of the staff. 

The Art Editor should not only have ability as an artist, but should have some 
executive ability and be able to plan his work in advance, properly assign the 
work to the different artists and see that each does the work assigned and in ac- 
cordance with instructions and the general plan. 

If there is no one connected with the school who can make good drawings, 
some commercial artist should be employed to do the work. Poor, weak cartoons, 
titles and illustrations cheapen a book, no matter how fine the photographs may 
be or how splendid the engraving, printing and binding. Far better, no cartoons 
at all than to use even a single one that is not good. 

New headings and new art work throughout should be the order of every 
edition of an Annual. The same heading repeated year after year loses its interest 
and will diminish the sale of the book. 

If there are many cartoons or art designs to be made, the Art Editor will find he 
has a Herculean task on hand. He will have to work hard, keep up his enthusiasm 
and constantly encourage and inspire his assistants to do their work quickly and 
well. He must see that the quality of drawings is not allowed to deteriorate and 
must not accept inferior work. It is advisable to start on the drawings early in 
the fall; in fact, if they could be made during the summer vacation, so much the 
better. 

Your drawings should be made in the samp style throughout the book so they 
will harmonize. The artistic arrangement of an Annual should be given consider- 
able thought; therefore, talk it over with the Editor before you start on drawings, 
groups or any other art work. 

After all drawings, groups and other art work have been completed, the Art 
Editor has finished the work on the Annual for which he is responsible. 






EARLY START— IMPORTANCE OF 

The Art Editor should know the advantage of getting all work on the Annual 
started at the earliest possible moment and the importance of proper co-operation, 
not only with his own associates but as well with the engraver and printer. Read 
carefully the articles about an early start in the Editor's and Manager's sections. 



<^sr^m^ret^m 







£ 



^W^^W^H^ 



Fifty-five 



PLANNING THE ART WORK 

The art work on your book is what gives effect to the entire publication. If 
well done it enhances the beauty of the printed page, sets off the photographs to 
best advantage, and gives a harmonious unity to the entire book. First impres- 
sions count. Make your book stand out as a book of good taste at the very first 
glance. 

Don't use too many different styles of drawings. Select a style of illustration 
and stick to it. Make the page headings, borders, cover design, panels and title 
pages harmonize. Plan your art work just as thoroughly as the editorial work. 



MAKE YOUR ARTISTS FOLLOW YOUR PLAN 

When you have planned the general style or effect you want, then be sure that 
the Assistant Artists follow the agreed style so that there will be uniformity and 
harmony throughout the book. It is important that they know how to make draw- 
ings so they will reproduce well. A drawing that may look very well in the original 
may not reproduce effectively at all. This is because of the reduction which is 
necessary in making engravings from the drawings. If at all in doubt, be sure 
and make up one sample drawing in line and in wash and send to engraver for 
criticism and suggestions. 



ARTISTS' MATERIALS 

It is of the utmost importance to use the proper materials if satisfactory draw- 
ings and groups are to be made for reproduction in printing plates. 

For pen drawings, for zinc etchings and wash drawings for halftones the proper 
grade of drawing board should be secured. A grade of board that works nicely 
for wash drawings may not be suited to pen drawings at all and vice versa. 

Under no circumstances should colored or tinted board or paper be used to 
make drawings. Red, yellow and some other colors photograph black; therefore 
a jet black line on red or yellow paper will not show at all and cannot be reproduced. 

When board is selected for mounting pictures into groups, it is important 
that a style be selected that will photograph properly. The background in many 
groups sent us, when photographed for engraving, does not look anything at all 
like the original because of the colors used. For instance, a mounting board with 
the lightest kind of yellow or red color would photograph very dark and a design 
in blue would photograph white and the design be lost entirely. 

We will, on request, send you a full line of properly selected drawing and 
mounting boards which we have tested and found to be the best. Some of our 
mounting boards are made particularly attractive and unique. 

Use standard water-proof black drawing ink. We find Higgins' to be the 



Fifty-six 




No.14 



No.1093 




No. 500 



No.1470 




No. 502 



No.501 



Mounting boards, when photographed in making halftones, frequently undergo quite a change in ap- 
pearance owing to the colors in the mounts. These illustrations show what the various mounts look like when 
reproduced by the halftone cameras. When a light background is desired we recommend No. 1470 as the best 
For a darker background or for feature sections Nos. 500, 501 or 502 are excellent. Number 1093 is a pure 
white and Number 14 a stiver gray. 



'P Xki ^5\kJl ^-^VJ 



push-Krebs c . 








best. Gillott's No. 170 and No. 290 pens are best for pen and ink drawings. 
For a beginner one of the very elastic drawing pens used by experts is hard to handle 
and a fairly stiff coarse writing pen that produces a smooth line of even thickness 
is best. Do not put water in your ink and make it produce a gray line. 

SAMPLE DRAWINGS 

Remember that we are just as anxious as you to have your drawings and other 
illustrations show up well when printed in the book. Every year we see so many 
bad drawings and groups and it is so easy to make them properly that we cannot 
urge you too strongly to be sure you know what you are doing before you put 
in a lot of time on art work that is not right. 

The very first thing, make up a sample drawing of different styles you select, 
such as a cartoon, title page, wash drawing, illustration or group, and send it to us 
for criticism and suggestions. This service costs you nothing and may not only 
greatly improve your book but may save some very unfortunate mistake. When 
you can get expert advice and assistance, why not use it? 



ERRORS TO BE AVOIDED 

In our years of experience in handling Annuals, we have run into very many 
errors that are made by Art Editors and their assistants. Some of these are 
very ridiculous and look almost impossible. Others are very common, but all 
can be avoided by a careful study of what to do and what not to do. 

For your benefit we have assembled and condensed these and printed two cards 
which we call Do's and Don'ts, and will be glad to furnish one for each of your 
assistants. To be effective they must be read often while your work progresses. 



PEN DRAWINGS FOR ZINC ETCHINGS 

In making pen drawings first make the design in light pencil and in doing this 
use just as much care as if you were making the finished drawing, except that all 
the finer details of shading, etc., may be left out; in other words, put in pencil 
only the strong features or outline. 

After the pencil lay-out is completed, go over it with pen and ink and now put 
in the complete picture correct as to detail, shading and strength of lines. 

Use Higgins' black drawing ink and the proper kind of drawing board. 

Make strong, clean, black lines, as light or gray lines are likely to break in 
etching. Do not attempt to give an effect of shading by means of too fine lines, 
as more than likely the engraving will show the lines run together into one mass. 
Do not put wash shadings on pen drawings unless you want them to be reproduced 
in halftone. 

If you have not had a great deal of experience in pen drawing, you had better 



Fifty-eight 






s 



confine yourself to simple line drawings, using solid blacks for the shaded portions, 
or very simple straight line shadings. Imperfections and roughness in a drawing 
will be minimized by the reduction in making the etchings. Bold lines with few 
details make very effective Annual illustrations. All drawings should be made 
uniformly 50 per cent larger each way than the size of engravings. 



SHADING 

There are various styles of shading used in making pen drawings — single lines 
of various thicknesses, cross-hatch, stipple, spatter ink and Ben Day shading. 

Stipple work consists of dots made with the point of a pen. 

Splatter work is similar to stipple work in effect, but the dots are softer, more 
irregular, and more numerous. It gives very artistic results for backgrounds and 
flat surfaces. Cover all the parts of the drawing that are not to be "splattered" 
with a paper mask, then dip a tooth brush in black ink, and, holding it about a 
foot from the exposed surfaces of the drawing, flip the bristles with a knife blade, 
pulling it away from the drawing. In recoiling, the bristles send fine particles of 
ink onto the paper where it is not covered by the shield or mask. Try this on some 
blank paper until you get the desired effect before you work on your drawing. 

Ben Day mechanical shading is done by a machine. Effects similar to stipple 
work and cross hatching may be printed onto parts of your drawings with this 
machine by the engraver, giving your drawings some very unusual effects, as the 
shading is mechanically perfect. Our Service Department will help you plan any 
such work you desire. 

The various styles of Ben Day shading used are illustrated in a drawing repro- 
duced and printed on page 65 of this book. 














■U^^M s? 







B« s - ! - Co. kf ^ w^u rg 



Fifty-nine 




This shows the originul rough pencil sketch or the Freshman cartoon (reduced 
50 par cent to go in book page). After the drawing is completed on drawing board 
(his sketch can be colored up with colored pencils or water colors to show the en- 
graver how you want the colors to appear in the completed plates. 






Sixty 







Or 



C.0UI5 J 



c*^ 1A/<N. l&T^- 






Sixty-one 






PEN DRAWINGS FOR COLOR WORK 

Cartoons, title pages, department heads, etc., in colors are usually made from 
pen drawings. 

To produce plates of this kind a pen drawing is made and in the drawing is 
shown only the details, lines, shading, etc., that are to print in black or the key 
color. No colors must be put in this drawing. The drawing should be made 
just as if it were to print in black only. 

After the key drawing is made place a sheet of transparent parchment or heavy 
tissue over the drawing and paste it at upper margin. On this flap or cover draw 
in roughly the colors as you want them to appear in the printed design: light red 
for flesh tint, blue hat, red belt, etc. Use colored pencils or water colors. This 
color scheme will serve as a guide to the engraver in making the plate for each color. 
Each color requires a separate plate and separate printing, consequently it follows 
that the more colors you have the more expensive will be the engravings and prnt- 





The Mack plate as made by the engraver. 



Sixty-two 



ing. Usually three plates will give you the desired effect. If you have several 
color plates to be made, it will be safer to complete one drawing, following the above 
directions, and send it to us for inspection, criticism and suggestions, before mak- 
ing the others. "Be sure you are right, then go ahead." 

In order that you may get a correct idea of how to make drawings for color 
work, we illustrate by the Freshman cartoon, the whole process, showing 
what goes in the drawing and how we make separate plates to put in the de- 
sired colors. You must not put in any colors on your drawing, nor is it necessary 
for you to make a separate drawing for the color plates. 

It is especially important if you use color work to make up one sample and 
send to us for inspection. We often get drawings that are absolutely useless and 
have to be made over. 








The red plate. Solid red for the word Freshman, the book, the pen, and a Ben Day tint for the flesh color. 

Br 




!SBUSh-Kr£bs Co.g 



S*^~^_ 






Sixty-three 







the complete cartoon with the red printed first, then the blue and the black last. 
All together they make an attractive and not very expensive insert. 






Sixty-four 




No. i. 



No. 8. 



No. 7. 





No. 323. 



No. 10. 



No. 326. 




■mm 



No. 310. 



No. 301. 



No. 439. 



I 






No. 307. 



No. 437. 



No. 438. 




No. 441. 



No. 527. 



No. 523. 



Where it is desired to show tints or shades in a pen drawing or in making color plates the Ben Day machine 
is frequently used. The samples above show a variety of these tints and their use is illustrated in the Fresh- 
man color sample shown on page 64 ( see color plate in three colors^ where a Ben Day tint is used to turn a red 
into a pink or flesh tint. When Ben Day tints are to be used it is best to let the engraver's artist make his 
own selection. 




; ,-„ ^\ ■- 



Sixty-five 






PENCIL AND CHARCOAL DRAWINGS 

Pencil and charcoal drawings, if well executed, are very effective. They can 
be reproduced in half-tone the same as photographs and wash drawings. The 
famous "Hi-Light Half-tone" process of reproducing pencil sketches can be used 
very effectively on the little thumb-nail sketches in the view section of your book. 

Hi-light halftones are very expensive, costing four times the price of a regular 
square finish halftone, so if many of them are used your drawings should all be 
made in the same size or proportion to cut down the cost. 

Sometimes if drawings are properly made we can reproduce pencil and charcoal 
drawings by the zinc etching process which is very much cheaper. These drawings 
should be made on special very rough paper so the drawings will have a stipple 
effect. Don't make any number of drawings of this kind without first sending 
in a sample. 



WASH DRAWINGS 

A wash drawing is a drawing made with a brush on white illustration or water 
color board with diluted India ink, lamp black or Sepia. The color is made very 
faint where it is desired to have a light tone. To get good results use strong con- 
trasts. Wash drawings must be reproduced in halftone, the same as photographs, 
and line etchings cannot be made from them. All drawings for halftone reproduc- 
tion should be larger than the engravings that are to be made from them, usually 
one and one-half times larger than the engraving is correct. 

Wash drawings intended for halftone copy should be done in black or sepia. 
Other colors should not be used. 



COMBINATION DRAWING AND PHOTOGRAPH 

Sometimes it is desired to cut out faces from photographs and draw bodies in 
imaginary poses. The heads should be nicely pasted down on drawing board 
and the drawings of bodies made "in wash" — that is, with a brush, as explained 
above under "Wash Drawings." A halftone is then made of the entire copy, 
the same as if it were an ordinary photograph. Zinc etchings of such subjects 
cannot be made, even where bodies are drawn in "line," as the photograph of head 
will not reproduce by that process. See illustration page 67. 



Sixty-six 




:tLsi^ 



— rf CC :RS := 



Sixty-seven 




A faculty group showing how it looks before we trim away the margin left for tacking up on camera copy-board. 
Never trim this space off before sending it in as it will not allow us tacking room. 




he above group when trimmed up und completed read) for unnual. 



Sixty-eight 









\ 









PANEL DESIGNS 

Frequently when the Senior Class 
pictures, faculty, etc., occupy a 
number of consecutive pages, the 
same background is used on engrav- 
ings throughout the whole section. 
In such cases it is customary to 
make "panels" for the pictures; the 
usual method follows: A decora- 
tive drawing is made; from this 
drawing a zinc etching is made. We 
then print the zinc etching on 
mounting board, thus securing the 
same effect that you would get in 
case the decorative treatment were 
drawn directly on the mounting 
board. We print up as many of 
these as are necessary to furnish a 
panel for each set of photographs, 
and the photographs are then pasted 
on to the panels. The finished pan- 
els are then photographed by the 
engraver to make the halftone for 
printing. The drawing and mount- 
ing board prints of panels must be 
made in such a size as to accommo- 
date the photographs and at the 
same time reduce proportionately 
to the size desired for the halftones. 
See illustrations on pages 7 1 to 74. 

We would advise that as a rule 
you instruct us to make up your 



The panel shown on this page is trade as de- 
scribed above. The decorative design is printed 
from a zinc etching on mounting board and the 
picture pasted in. 








? 



Sixty-nine 




panels, for since they are to appear 
on a number of consecutive pages, 
they should all be a well executed 
design. Give us some idea of what 
you want and we will be glad to 
quote you a price for the drawing 
and the number of panels required. 
When we make up your drawings 
for panels, we must have a sample 
photograph so that we can get the 
size and proportions correct for re- 
duction. 

Panel designs must be simple and 
very subdued or they will be dis- 
pleasing when the photographs are 
mounted and the panel reproduced 
in an engraving. Like the borders, 
the panel designs are not the impor- 
tant thing on the page. The photo- 
graphs are what you want to dis- 
play, and the design should help 
display the portraits and not de- 
tract attention from them. 

We are constantly designing new 
panels and originating new ideas, 
and can often furnish you a well ex- 
ecuted design at so small a cost that 
you will be glad you used the serv- 
ice of our Art Department and se- 
cured an appropriate design. 



Excellent grouping and photographs. The plain 
harkgrnund adds to the attractiveness of the panel. 



Seventy 




Figur 
that the 



FIG. A. EXAMPLE OF COMPLETED HALFTONE. 

A. Senior panel reduced to standard page size from the panel mount shown > 
surplus margin as shown on large panel is cut off. 



page 74. Notice 



The method of producing this panel is illustrated in Figures B, C and D on following pages, and the same 
method is used for panels of any shape or design. Sometimes right and left-hand designs are made for 
panels appearing on opposite pages; or where there are a great many panels, several designs may be used 
to give variety. 






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This panel, on account of the very dark red mounting board that was used, looks too much like a mourning 
page. The original copy looked very nice, but reproduced very badly. White lines around each oval would 
help it some. 



GROUPING— ADVANTAGES OF 

When pictures of a number of individuals appear on one page, it is cheaper to 
group the photographs and make one halftone than it is to make individual half- 
tones. We are prepared to do any grouping you may desire, but we find from ex- 
perience that many college staffs prefer to do their own grouping in order to save 
the cost of this art work. 

With the assistance and instructions contained in this book you should have 
no difficulty in preparing your own groups. We are in a position to supply you 
with various styles of mounting board at a small cost, should you desire to do your 
own grouping. 



GROUPS OF PORTRAITS MADE BY ENGRAVER 

Where two or more portraits are to be grouped together by the engraver, care 
must be used in sending in orders to prevent mistakes in identification of pictures 

First: Diagrams. Make a rough pencil diagram showing exact size of engrav- 
ing desired. Indicate in the diagram the position to be occupied by each portrait. 
Give this diagram the number that is used on order blank for this group. 



3^r^^rE2 



'B«sh;K£ebs Co. 






JSB3S3T 



Seventy-five 














This is a .splendid group and shows 61 portraits in a space less than the 4 ; | x 6% annual page. You can 
see how large each head appears when grouped closely together. Where space permits it is much better 
to put less pictures in a group so the individual faces will be larger. 






.Seventy-six 



Second: Names. On the back of each portrait print the name legibly so no 
mistake can be made in spelling and put same name in its proper place on diagram. 
Put the number of the group, in which it goes, on the back of each portrait. 

Third: Envelopes. When each picture is properly named and numbered, en- 
close all the pictures for the group together with the diagram for that group in 
an envelope. 

Fourth: Identification. If you want the name of each person to appear 
when printed under each picture, say on outside of envelope and in order "Name 
under each picture." Putting in each individual name adds considerably to the 
art cost in large groups, but each picture can be identified by a number at small 
additional cost. See groups on pages 102, 138. 

Fifth: Stickers. On the outside of envelope paste a sticker filled out in full, 
giving name of Annual, size of engraving, etc., and the number in your order 
blank. 

Sixth: How to Mark. In marking pictures use a soft pencil and write lightly 
so marks will not show through on face of picture. See page 111. 

Seventh: Typewritten List. As an extra precaution a typewritten list of 
names, properly spelled, should be enclosed in the envelope with each group. 
Verify this list for spelling with the names on the pictures and in diagram. 




A very bad example of grouping. The ovals are unever 
the heads are much too small. This could have been made 
machine or mask and pasting the pictures close together. 



t cut and the pictures placed so far apart thai 
perfect plate by cutting the ovals with an oval 




Seventy-seven 






Eighth: The Pictures. All pictures for a group should be made so that heads 
will be of a uniform size. If some heads are large and some small, it means extra 
negatives for the engraver to get them uniform and adds considerably to the 
cost of the plate. See group on page 79. 

The photographer should make all pictures uniform in tone or color and print 
them on same kind of photographic paper. Glossy prints make the best halftones. 



GROUPING PORTRAITS BY THE ART EDITOR 

If you cannot afford to have the engraver group your pictures, and wish to do 
the work yourself, follow the rules here given and you should have little trouble. 

We suggest that you make up one group of portraits and one of snaps and 
send to us for criticism and suggestions before doing all of them. 

Groups should be made as simple as possible, avoiding complicated lines and 
figures in the backgrounds. As a rule, student endeavors are disappointing. 

First, lay out on a piece of cheap paper a light pencil diagram, showing exact 
position of every picture in the group, being sure that the space allowed for each 
picture is correct and that the complete diagram will reduce to the desired size. 
To tell how to get proportions correctly see pages 88 to 91. 

In laying out your group, bear in mind that it must be made in the same pro- 
portions as the finished halftone is to have. The group "lay-out," of course, usually 
will be larger than the size of the finished halftone, for when the engraver photo- 
graphs the group it can be reduced to any proportionate size. But the width and 
height must be proportionate, for the engraver cannot reduce the height and leave 
the width the same, or vice versa. 

It might be well to practice on some cheap wrapping paper how to lay out 
groups in proper proportion and style before attempting to put diagram on mount- 
ing board. We furnish you with a large blue print which shows just how it is 
done. Don't run your pictures to edge of mount. Remember that tacking 
room must be left all around the outside edge of every group. Read "Grouping 
Snapshots." In laying out diagram make pencil marks very light and small 
enough so they will be covered up by the picture when it is pasted down. 

Second: Have your photographer leave the prints unmounted. If they are 
to be oval, do not try to cut them with scissors. They must be cut by a brass oval 
mask and cutters. Your photographer or engraver can do this for you or secure 
the proper size mask for you and show you how to use it. The size oval you wish 
to use should be determined before the photographer makes your pictures. Por- 
traits should be trimmed until they bring out most strongly the features of the 
individual In your Senior pictures, for instance, you should trim out most of 



Seventy-eight 






j 0.jg 



^ 



Seventy-nine 



the background, until just the faces stand out strongly. Remember, if the head 
is small and a lot of uninteresting background is left in the portrait, when the re- 
duction is made, the head will be very small, and the background will attract 
more attention than the picture. Study the way portraits are shown in magazines. 

Third: Soak the photographs for a few minutes in clear water, in a shallow 
basin, until they are flexible. This does not injure them. 

Fourth: Have ready two good sized sheets of blotting paper, and blot the 
photographs between these sheets to take up the excess moisture. 

Fifth: Now lay your picture face down on clean white paper. Apply library 
paste to the back with a one-half or three-quarter inch flat stiff bristle brush. 
Do not have any lumps in the paste and do not use mucilage or glue. Do not 
use the paste too thin, but just thin enough so it will not be watery, as it is likely 
to ooze out around the edges and cause blemishes and spots to show in the 
halftone. Apply the paste on the back of your picture evenly, but not too gener- 
ously, being sure that the prints are covered to the extreme edges. 

Sixth: Lay the picture down in place and press gently. Use a clean sheet 
of blotting paper over it, and smooth out any air bubbles or wrinkles by rubbing 
your fingers over the blotting paper. Press from the center toward the edges of 
the picture. 

Seventh: If in handling the photograph you have gotten paste on the face 
of it, wipe off with a damp piece of cotton or clean sponge. 

Eighth: Be very careful not to get any moisture or drops of water or any 
paste on the mounting board. 

Ninth: Put the whole group design under some heavy books and allow to 
dry; this will prevent curling. Cover up the group with a sheet of white blotting 
paper before you put it under the weight. Should the blotter stick to the picture 
while drying, clean off adhering blotter with damp soft cotton or sponge. 

Tenth: Do any drawing on the group after it is mounted and dried. The 
simpler the design the better, as elaborate designs require skill. We are prepared 
to do the lettering or drawing for you at moderate cost, or a very neat way is to 
let the printer put the names underneath the groups in type. 

In making your groups, place the photographs as close together as possible, thus 
avoiding large reductions. For example, if you should have nine photographs to 
be grouped, by placing them close together you can naturally get them on a smaller 
piece of mounting board than if they were widely spaced. It then follows that 
the smaller the dimensions of the group lay-out, the less will be the reduction, 
and the larger the individual photographs and the better the effect. This is espe- 
cially true of kodak snapshots; for these, as a rule, are very small to begin with, 
and if they are reduced to any great extent all the detail is lost. Unimportant or 
useless portions of backgrounds should be cut off the print before grouping. 



Eighty 




A group of beautiful pictures very badly mounted. The ovals were badly cut and were careles 
down so that edges turned up and made bad shadows. 

They are too close together and no tacking room was left. Parts of the ovals were trimmed off, giving 
the edges* a chopped-off effect. A defect the exact opposite of this is shown on page 82. 



Eighty-one 




©O 







© © © 
©©©© 

© <# © s 



A very bud group. Pictures are very carelessly cut and grouped so far apart that the heads are much smaller 
than they need be in a plate of this size. The pictures should have been all trimmed exactly the same oval shape 
and accurately cut by an oval mask or cutting machine and carefully grouped closer together, but not too jammed up 
as in the group on page 81. 



Eighty-two 




The original picture with surplus background The 

left in. large 

GROUPS OF SNAPS MADE BY ENGRAVER 

First: Diagram. Make rough diagram showing exact size of engraving de- 
sired (usually full page 5 x 7), and if there is any particular picture or pictures 
that should occupy the center or other preferred position, so indicate in the diagram 
by pencil marks and number. Give the diagram the same number that you give 
this group in the order blank. 

Second: Numbers. Number each snap, thus No. 1 Group 26; No. 2 Group 26; 
etc. On bottom of diagram tell number of snaps in the group and see that you have 
the corresponding number of snaps. 

Third: Envelope. When snaps and diagram are complete, enclose all in 
envelope and on outside of envelope paste a sticker properly filled out and of 
same serial number as used in order blank. 

Fourth: Style. When possible, leave it to engraver to group the snaps so 
that they will make the best arrangement and appearance when finished; but, of 
course, special pictures can be given preferred positions if necessary. 

Fifth: Do not cut pictures, but if any part of them is to be eliminated, hold 
up to light and mark on back where you prefer they be cut. Sometimes the artist 
needs a little more or less background to make a picture fill a space nicely and he 
prefers to do his own cutting of pictures. 

Grouping is charged for according to the time consumed by our artists at the 
rate per hour as shown on your contract. 





Eighty-three 



GROUPS OF SNAPS 

It is very important that you get plenty of snapshots and select the best ones 
for reproduction. Do not use just any picture you happen to have, but see to it 
that every picture you use is good and clear. Muddy or gray looking pictures 
will spoil your book, for they cannot make good reproductions. Make the kodak 
man print his "snaps" on a semi-matte paper that gives good, clear black and white 
tones. Don't get them too contrasty, either, or they will lose detail in reproduction. 

With your pictures properly selected proceed to make up a diagram showing the 
position of each picture. The easiest way to do this is to take a piece of paper 
and draw on it the diagonal line of proportionate reductions as explained in "How 
to Figure Reductions." Then keeping within this line of reductions shuffle your 
pictures around on the diagram until you get them placed to your satisfaction. 
Where pictures over-lap trim off the surplus and place them back in position. 
With pictures all properly trimmed and placed go around them lightly with pencil 
so when the pictures are soaked and pasted you can quickly and accurately mount 
them in their proper place. 

After your diagram is correctly made you can locate the pictures on the mount- 
ing board in this way. Take the paper diagram and lay it on the mounting board. 
Then with a pin punch a little hole through the diagram and into the mounting 
board at the corners of each picture. These small pin marks will show on the 
board just where each picture goes. The pin marks should be made so that the 
pictures, when pasted down, will cover them up. 

Don't forget in making up groups to leave three-fourths of an inch tacking 
room all around the outside of group. Allow for this in making diagram on mount- 
ing board. See illustrations showing how to make up groups on pages 85, 86, 87, 
and diagram showing how to get proper proportions on pages 90, 91. 

In making up your groups of snaps make each picture tell a story. Don't 
have three or four points of interest in one picture. Trim it down until there is 
just one point of interest (see group of girls on page 88). Trim out background and 
figures of objects that do not add anything to the central story. This emphasizes 
the thing you want to show and enables you to get more interesting pictures in a 
group. 

With pictures properly trimmed and placed in the diagram proceed to paste 
and mount these as per instructions given in grouping portraits. 

The three pages following show the complete process of making up a group 
of snaps ready for the engraver. 



Eighty-four 




Figure 1, The first step in grouping photographs is to lay your pictures on diagram and shift around 
until you get them in the proper position and a pleasing arrangement. Group closely together. 










BtfSj 






Eighty-five 




-I 



V% 



I 



JL 



Figure 2. After pictures arc properly arranged and in the right proportion, mark with a pin on the mounting 
hoard at the corner ot each picture a dot so you ran remember the arrangement. Then trim off all the surplus photo- 
graph and mount with library paste. Mark at each corner with pencil, as per above, the part that is to appear in tln- 
ished engraving and give size on two sides. Note surplus space left for lacking room and marking sizes. 



Eighty-six 




Figure 3. This shows the finished halftone. Note how much of each photograph has been eliminated from Figure 
1 group and how close together the photographs are mounted. 




Bush-JJrebs Co ^3^^^r^^r^^ 



COLLEGE ANNUAL £N6RAV£R 



Eighty-seven 







all halftone to go across top of page. Photographing them i 
standing and cuts down the depth on page. 



this manner makes the faces 



GROUPS— HOW TO GET PROPORTIONS CORRECT 

The size of your type page is 5 inches by 7 inches. The block size of your en- 
gravings must under no circumstances exceed these dimensions. We suggest 
and advise that you adopt a maximum size for your full page engravings of 4 3-4 x 
6 3-4 face measure, which makes the block size 5x7. Make your half-page en- 
gravings 4 3-4 x 3 1-4 or 3 1-2 and other sizes in the same proportion. These 
suggested sizes are for the printed surface and not the block measure of engraving. 
The block size of your engraving is one-eighth inch larger than the printing surface, 
on each of its four sides. If printing goes under group make engraving shorter 
than 6 3-4 inches. 

Preparing a group of "snaps" or portraits to reduce to a full-page 4 3-4 x 6 3-4 
halftone, seems to the uninitiated a very difficult job. In reality nothing is simpler 
when the law of proportion is understood and applied. 

First, draw a diagram in the lower left-hand corner of your paper the exact 
size of the engraving you want. Do not go to the extreme edge of paper but allow 
a margin between edge of paper and edge of diagram, i. e., when the group is com- 
pleted there should be a margin all around the outside edge so the engraver can 
tack the group on his board for photographing. See page 86. 

Second, draw a diagonal line through this rectangle diagram from the lower 
left-hand corner through the upper right-hand corner extending it indefinitely. 
Lines drawn at right angles to each other at any other point on the diagonal will 
form a rectangle, proportionate in length and width to the original rectangle. 
See figure on page 91. In laying out your groups draw these diagrams on a piece 
of paper until you get the proper size and arrangement of your pictures. Do not 
experiment on mounting board as pencil lines are not easily erased without showing. 



Eighty-eight 




Note the superfluous 
background in the pic- 
ture. The main build- 
ing is so far away that 
when reduced it can 
hardly be seen. 

Where it is desired 
to show the entire cam- 
pus a larger space should 
be given the picture. 




By proper trimming 
of the photograph the 
building is made larger 
and becomes the central 
attraction of the picture. 
Do not mark the face of 
the picture, but hold it 
to the light and mark on 
the back the part of the 
picture that you want in 
the engraving. 

REDUCING PICTURES IN PROPORTION 

The engraver, of course, in making an engraving can reduce the copy to any 
proportionate size. But in specifying the size you want an engraving made, al- 
ways keep in mind that the ratio of the greater dimension of the photograph or 
drawing to the greater dimension of the engraving is the same as the ratio of the 
lesser dimension of the photograph or drawing to the lesser dimension of the en- 
graving. For instance, if from a photograph 10 inches wide by 8 inches high 
there is ordered an engraving 5 inches wide, that engraving will be 4 inches high. 
Here are plain directions on how to figure reductions on two kinds of photographs : 

First Method 

1. Where you wish to use all the picture, but wish it to be made smaller or 
larger, the diagram on page 91 will show you how to ascertain the desired reduction 
quickly. 

2. Do not draw on the face of the picture, but make your calculations on the 
back with lines drawn lightly. Then mark size and it is ready for the engraver. 
(See instructions for marking copy.) 



V\ 



I 



UZTWs&W^ : 










Eighty-nine 







Athletic No. 1. The full size picture from which a very small halftone, 2 ] 2 x l'-i, was wanted. The 
diagram below illustrates how the picture was marked on the back to show what was to be taken into the 
halftone and how the proper proportions were obtained. 





5/ ZE OF PHOTO 






PART OF PHOTO TO BE REPRODUCED ^^ 




Size waa/ted ^^ 
fop aa/a/val^^ 











Ninety 




Athletic No. 2. The small size halftone made from the 
athletic picture No. 1 on page 90 when reduced as shown by 
diagram of reduction. 



M 




i group of pictures will 

If you have a picture represented by A-4-4, draw a diagonal line on the back and all proportionate reductions 
will be represented by lines drawn at right-angles to the diagonal line, such as 1-1, 2-2, 3-3, etc. 

If you wish to lay out a group to reduce to a given size, let A B C D represent the required plate size, and 
through this diagram draw a diagonal line A D, which can be extended indefinitely. You can then arrange 
your pictures so they will come inside any set of two lines drawn at right angles and meeting on the diagonal 
line, such as 1-1, 2-2, 3-3, 4-4, etc. Such a group when reduced will come to the exact size of A B C D. 






H: 



Ninety-one 




First draw lightly on the back of the photograph a diagonal line from the lower 
left corner to the upper right corner. 

Lines drawn at right angles to each other at any point on this diagonal will be 
in correct proportion to your original picture. 

For instance, suppose you want an engraving 3 inches wide from a larger draw- 
ing or photograph and wish to know the exact height it is going to be. Take your 
ruler and measure 3 inches from the left side of the picture. The distance from this 
point up to the diagonal line gives you the exact height the engraving will come. 
This is illustrated in a diagram on page 91. 

The diagram illustrates this particular example, but the same rule applies in 
all cases. If you have the height and want the width, simply reverse the process. 
Remember this applies only where you wish to use the whole picture. 

Second Method 

In order to secure a desired reduction, you can frequently leave out useless or 
unimportant portions of background or photograph and not use the whole of the 
picture In this case, proceed exactly as in the other method, only be sure to 
figure only on the portion of the picture you desire to use. 

Hold the photograph up to the light with its back toward you, and mark with 
pencil lightly just where you want to have the engraver cut the negative when 
reproducing it. After you have marked and squared up with pencil, then draw a 
diagonal line as per diagram and proceed as you did with the whole picture. Draw 
your diagonal from the lower left-hand corner to the upper right-hand corner of 
the part you have decided to use, and from this diagonal get your dimensions. 
See Illustration on page 90. 

The engraver will have no difficulty in understanding. Do not draw on the 
face of the picture or cut away the part not desired. These will be squared up and 
cut evenly by the engraver. In marking any lines on the back of a photograph, 
draw them very lightly or else the lines will show through on the face of the pho- 
tograph and in the printed engraving. See illustration on page 111. 



TRIMMING PICTURES 

How to trim pictures to get the best effect is explained in article about group- 
ing portraits and snaps. 

All pictures sent to the engraver, that are not in groups, should be sent un- 
mounted and untrimmed. If you wish any of the background eliminated, mark 
on the back of the pictures as explained above. 






Ninety-two 



^^>H^m^ 




Ninety-three 










Specials No. 1. This shows group with a lot of superfluous background lefl in, which makes Ihe girls 
appear very small. 




Specials No. 2. This shows the same picture as above with unnecessary background cut off, which makes 
the group show larger in the same size engraving. Illustration on page 93 shows how to mark copy. 



Ninety-four 







ART SECTIONS 

It is becoming quite popular among the colleges to have a section of sixteen 
pages printed on one of the fine tinted papers in some handsome doubletone 
ink of which there are many appropriate shades in browns and greens. A section 
is devoted to views of campus, buildings, Seniors, and feature pages showing spon- 
sors or most popular girls in characteristic poses, printed from good sized halftones. 
They make a most attractive appearance and surely produce good results in the 
selling end of the publication. Such sections should be full eight or sixteen, twenty- 
four or thirty-two pages and should come invariably between full sections for 
economy in binding. To be explicit, the first page of such sections should be I , 
17, 33, 49, 65 or some multiple of sixteen. Only a trained and experienced artist 
should attempt to prepare copy for these art sections. We will be glad to advise 
with you about making pictures and quote approximate costs. For samples see 
pages 96 to 99 and 132. 



OTHER THINGS TO KNOW 

The Art Editor who thoroughly understands the requirements of his work 
should carefully study the following articles: 

Page Page 

Styles of Engravings 25 Ordering Engravings 32 

Duographs 29 Numbering Copy 30 

Three Color Halftones 30 Marking Copy 35 

Cartoons and Titles 30 Engraving Terms 139 



Ninety-five 




hOUNTJOY 



BROWff CAPT riURPHY KIFIBEL 





WHITNCU EflBRY 



• ft 

ROBB 




BURI?E3 



Pictures nicely mounted on plain board with names lettered in with India ink. Croat care must be used 
in cultinc nut and pasting down the individual pictures. 



< hte hundred 






Photograph Editor's Section 

CONTENTS 

Page 

1 . I mportance of His Position 103 

2. Consultation with Editor 1 03 

3. Consultation with Engraver 1 04 

4. Selecting your Photographer 104 

5. Get an Early Start 105 

6. Picture Day 107 

7. Margin of Safety 108 

8. Making Portraits 110 

9. Suggestions to Photographer Ill 

1 0. Size and Shape of Portraits 114 

1 I . Background for Pictures 114 

12. Style of Prints 114 

13. Plenty of Snaps ' 116 

1 4. Trimming Pictures 116 

1 5. Groups and Panels 117 

1 6. Uniform Reduction 117 

1 7. Sending Copy to Engraver 117 



en 



^BT^ Wxg^fft 




Btisn 






One hundred one 







/{/ <* Hirx^ 



dices De^ 



*' c A, aeC X 



Example of lettering names on croup. This has been handled very nicely and is fine for clubs or olhei 
groups Ihul do nol conlain loo many portraits. The heads are uniform in size, which also makes this sho» 



One hundred two 



Photograph Editor 



The Annual is a picture book and the work of the Photograph Editor can make 
or mar the book; therefore, the person responsible for the pictures should thorough- 
ly appreciate the importance of his position and use his best efforts to fill the book 
with perfect and interesting pictures. 

The position of Photograph Editor is more strenuous and requires much more 
work, more careful planning and more technical knowledge than is usually antici- 
pated. He must expect to give much time and real study to his part of the work 
in order to make his illustrations possess a harmony and symmetry that will please. 

If possible, the Photograph Editor should be a real good amateur photographer 
and at the same time a good manager or executive. 

The photograph Editor to work most effectively should be elected a year in 
advance. The reasons for this will be seen hereafter. 



CONSULTATION WITH EDITOR 

The picture man should immediately after election arrange to have meetings 
with the Editor and Art Editor and carefully plan the entire book. A preliminary 
or tentative dummy should be made up showing how the various school activities 
are to be represented in the book, the amount of space to be given to write-up and 
picture and the exact size and shape of each picture should be determined and a 
careful list made giving this information. With this list as a guide positive and 
clear instructions can be given to the photographer so that he can make his in- 
dividual pictures, groups and scenes of a size and shape to conform to the deter- 




One hundred three 






An attractive nu'thod of showing u small group of football stars. The individual pictures are care- 
fully cut out and pasted on mounting board and the design of letter is indicated in light pencil. The en- 
graver cuts away the background, leaving the design in relief on white paper. 

mined plan. Unless the photographer has this information he may make groups 
higher than they are wide when they should be wider than they are high, and 
vice versa. 



CONSULT ENGRAVER EARLY 

If you select your engraver early and he is a real college expert, his experience 
in handling the picture part of Annuals will make his advice and assistance of the 
greatest value and you should at once get in touch with him. To make your work 
and that of the Editor easy he will take your list of pictures and the tentative plan 
of your Annual and make up a complete dummy, embodying in this new and 
unique suggestions for arrangement, posing, style, etc., of your pictures. 



SELECTING YOUR PHOTOGRAPHER 

The average photographer is by training and experience a portrait man, one 
who strives to make attractive pictures to frame, put on an easel or in an album. 
He knows little about the limitations or possibilities of the halftone and printing 
reproductive processes and does not know that many pictures which are works of 



(hie hundred four 




art from his standpoint may be entirely unsuited to engraving and printing. He 
pays little, if any, attention to the fact that your pictures must come within cer- 
tain prescribed and predetermined limitations as to size and shape. He does not 
know that certain lighting effects, styles of photo paper, backgrounds and shades 
of tone reproduce much better than others. 

In selecting your photographer, therefore, get the very best you can and im- 
press on him the importance of co-operating with the engraver and giving the en- 
graver the kind of pictures that will make the best engravings. To do this the 
photographer may at times have to sacrifice his own desires to produce a picture 
that is beautifully artistic, but for your purpose impractical. 



GET AN EARLY START 

If you are fortunate enough to be elected in the spring, there is a lot of real 
work to be done besides just planning. The track team, and possibly the baseball 
team; the Senior play; commencement day, and many other activities likely have 
made school history too late to be included in the last Annual. As the various 
events happen see that good pictures are obtained and file them with names proper- 
ly spelled and a correct write-up while the affairs are fresh in your mind. If you 
are not on the job all the time, some of the most interesting phases of the school 
year may be overlooked or improperly reported. 



' 7 WC 







K^^f^W^W^ 



One hundred five 







Note the brightness and summer attractiveness of this 
building on the oppusite page, which was photographed in 



st it with the equally Tin 



Many outdoor scenes, campus views, class trips, etc., are more attractive 
when made in the early spring or summer months and should be made before 
vacation begins. Before school closes have a talk with the entire class and im- 
press on them that during vacation you want them to save up a lot of interesting 
snaps and bring back to you in the fall. 

Don't overlook the fact that you get a nice extra discount on all the engraving 
copy you send in during the early fall months. This means that for the same 
amount of money you can add very considerably to the number of pictures in the 
book. 

If you start early and keep after your photographer, there is no reason why 
nearly all your picture copy should not be ready in time to get this big advantage. 



One hundred six 




This fine building and its well-kept surroundings lo 
been made in the early spring when the leaves were out just « 
without hiding the building from view. 






PICTURE DAY 

After the picture part of your Annual is all planned and a complete list made 
of each picture with its size and shape, and after you have thoroughly rehearsed 
all your plans with the photographer, arrange for a Picture Day in co-operation 
and with the approval of the faculty, making this a holiday if possible. Advertise 
this in advance and make up a schedule of the hour and place where each picture 
is to be made, notifying everybody as to just what part they have in the plan. 

The position of each group should be selected in advance, where there will be an 
attractive background that will make the people in the picture stand out prominent- 
ly and in pleasant contrast to the background. The scenes should be set for the 
picture. If on the campus, the ground should be cleaned up, grass cut and every- 
thing removed that is not wanted in the picture. If a building is in the back- 
ground, see that window curtains are properly arranged, chalk marks removed 
from walls, porch furniture properly set, and above all when ready to snap the 
picture see that the ubiquitous buttinsky, who does not belong in the picture, 
is invited to get out of vision of the camera. 



Xz&w.s&vA ^m^w^ 




One hundred seven 




When the photographer is arranging his group, be sure that he understands 
the exact size and shape of the engraving that is wanted, so he can arrange his group 
in such a way as to get a picture in the proper proportions as to width and height. 

Tell the photographer to observe his group when posed and see that no heads or 
faces are hidden, that hats do not shade the faces, and that those in the foreground 
have their hands, feet and clothes properly arranged. 

All groups should be made early in the fall while the leaves are still on the trees 
and outdoor scenes are still pleasing and warm. 



MARGIN OF SAFETY 

It is very necessary that you allow a margin of safety in time to provide for 
the contingencies, accidents, and disappointments that always arise at unexpected 
times to upset your plans. The photographer with whom a contract has been 
made may not prove dependable; the various college organizations may be unable 
to get together for group photographs, owing to absence of some member; a negative 



(hie hundred eighl 




ri ■' 



Contrast the beauty of this scene with its trees and vines and smooth lawn with the bare, cold schoolhouse 
on page 108. Try to take buildings from a view that will make the picture artistic and inviting. 

may not be satisfactory, and may have to be made over several times before it 
pleases the individual or organization paying for its insertion. The Photographer 
owing to pressure of other orders, especially during the holidays, will often lay the 
school work aside. 






Thus it is evident that no member of the Editorial Staff needs a greater margin 
of safety in the all-important factor of time than the Photograph Editor. All 
photographs and drawings must be completed, arranged, marked for sizes and 
positions, numbered and sent to the engraver and the engravings made before the 
printer can even start making the book up into page form. 



m 












One hundred nine 








Portrait with light backgn 



The best results are obtained by using a middle tone gray backgr 
it shows the lights and shadows up much better. 



Portrait with dark background, 
und for portraits instead of either of the abo 



MAKING PORTRAITS 

As portraits are usually made in a studio or in a specially selected room, the 
making of individual pictures should not be attempted on Picture Day. 

You should arrange with your photographer how many sittings he can make per 
hour and just what hours and days he will reserve for your work. You should then 
make up a typewritten schedule in duplicate giving the name, day and hour when 
each student is to go to the photographer. One of these lists should go to the 
photographer for him to check off the sittings as made, the other to be retained by 
you. Give each student a written notice with day and hour of his appointment, 
and ask them to notify you in advance if they can't keep the appointment so you 
can send a substitute to take his time. This business-like arrangement will please 
the photographer and gain his good will and hearty co-operation. 



One hundred ten 



%t¥t 

2'iX 3^ 




This shows how picture was marked on Ihe 
back with a hard pencil. We couldn't get marks 
out and had to send back for another print. 



SUGGESTIONS TO YOUR PHOTOGRAPHER 

We wish to co-operate in every way with your photographer, for both our suc- 
cess and his depends on the manner in which the photographs reproduce. Making 
pictures for artistic or ordinary purposes is very different from making pictures 
for reproduction. Soft mat tones and surfaces are desirable in portraits, but they 
never make good, clean-cut reproductions. 

If possible, have the photographer make all your prints glossy, black and 
white and squeegee them. 

Semi-matte paper will work very satisfactorily where glossy prints cannot be 
obtained, but anything like a rough or matte surface will come out muddy and 
blotchy looking in the engraving and must not be used. 

The best kinds of photographs for reproduction are those that have plenty of 
detail. Especially is it important to get detail into the shadows. It is possible 
to liven up a plate that has lots of detail in it, by careful re-etching, but photos 
that are very contrasty often have a chalky appearance in the halftone, the shadows 
being so dark and high-lights so white that the detail is lost in both. 



One hundred eleven 







Notice how pencil murks show when- nol cart-fully removed. One of the pictures shows effect of ragged 
edge in cutting oval. No pencil marks should ever be made on the face of the copy. See instructions for 
grouping. 



One hundred twelve 




^H 




Square finish halftone made from an oval 
photograph. Note the bad effect at corners where 
parts of the cardboard had to be left in the en- 
graving. 



Unfortunate result from too much 
It gives the picture a very fuzzy or 
appearance. 




This picture was made inside where the lighting was very bad. The figures on the ends do not 
show up well and the whole picture is somber and flat. 



One hundred thirteen 






SIZE AND SHAPE OF PORTRAITS 

The photographer must know to what size and shape the picture is to be re- 
duced before making it, if you wish to avoid trouble. As a rule, the photograph 
should be about one-third larger both ways than the dimensions of the engraving 
to which it is to be reduced. Emphasize the fact that it is the head you wish 
to show in your picture and not the background or figure, and that in making 
portraits the heads should be of uniform size from chin to top of head and of a 
general uniformity in style of pose. 



BACKGROUND FOR PICTURES 

All portraits that go in panels or groups should be made against the same back- 
ground, for, if some pictures in a group are light and others dark, the group will 
have a very spotty appearance and look very bad in the book. As a rule light 
gray backgrounds in panels and groups look much better than dark. 

For vignette and cut-out halftones a light background must always be used. 

Where portraits are to be cut out into oval shape for panels or groups, it is 
very necessary that the print be made on paper sufficiently large to allow for the 
oval extending above the top of the head. 

There is no set rule for backgrounds except this general injunction: The back- 
ground should be of a tone to show a contrast to the important part of the photo- 
graph. Many photographers sacrifice clearness for the so-called artistic effect, 
but the Photograph Editor who can induce his photographer to make clear, strong 
photographs with a contrast between the background and the image will get superior 
plates for his trouble. 

A medium gray background is the one that gives best results all around. If 
the backgrounds are too dark, they get muddy in the printing, and if too light will 
look spotted or faded. The gray tone that results when the strong skylight is 
thrown on a flat, black background is about the right one. This same tone should 
be used for groups as well as individuals. 

Spotted or fancy modeled backgrounds, or draped background cloths, are not 
desirable in pictures for reproduction. Light backgrounds may be used if the pho- 
tographer will keep lots of detail in the faces. 



STYLE OF PRINTS 

Prints ordinarily furnished by photographers lack sufficient detail and strength 
for reproduction. Rough papers are poor for detail because they do not reflect 
light nearly as well as the highly polished papers do. 

Photographs with blue or yellow tones should not be sent for reproduction. 
Blue is photographically white; yellow is photographically black. It is impossible 
to secure graduations of tone in engravings made from prints showing these colors. 

Extraordinary effort should be made to obtain photographs of uniform color, 



One hundred fourteen 




A very badly handled group. The pictures are unevenly cut with rough edges. Some edges s 
up, throwing a shadow, and paste and pencil marks mar the picture. They are beautiful pictures i 
have been made into an extremely attractive group with a little more time and care. When in do 
instructions for grouping. 




Bush-Krebs Co , |^^^^ 

1 ._.■ ■ • 



^83^ 



, ■.. . ■ . . 



One hundred fifteen 



tone and style of finish, with heads of uniform size for class or faculty series and 
for "groups." This cannot be emphasized too strongly. The appearance of such 
pictures in an Annual will be greatly enhanced if the editors are especially care- 
ful in respect to these photographs. 

Securing good photographs, especially portraits, is one of the most important 
steps in developing an Annual. Every student or teacher whose portrait appears 
in the book is interested in that portrait, and if displeased, may be a harsh critic. 



PLENTY OF SNAPS 

Spring is best to collect the snap-shots that make your book so popular — 
folks don't take so many good pictures in the winter time, you know. Everyone 
likes to have his picture in the book, and he treasures the book longer if it has 
something about him in it — something besides mere statistics. The more pic- 
tures of people you get into your book, the more boosters you will have for your 
book. Get a snapshot of everybody in school, and everybody will say you pub- 
lished a good book. Better fill the book with pictures even if you have to cut down 
the number of pages of reading matter or leave out some of the color work. 

An Annual should be edited with a camera. It should be a story in pictures 
of one year's history at your school, just as the Fox Weekly, the Pathe Weekly and 
other news reels you see in the movies each week show the important happenings 
throughout the world. 

The book which has the most catchy photographs in it, in addition to the photo- 
graphs of the class, the groups, etc., will be considered the most successful book. 
No one ever tires of good pictures, while humorous sketches, unless rarely well 
done, soon lose interest. 

Tell every student you want a dozen of his very best snap-shots, then you will 
have enough to make a selection that will give your book a wide range of interest 
and style. 



TRIMMING PICTURES 

As the Art Editor usually makes up all groups and panels, he is responsible 
for the trimming of pictures, but a word on the subject here will do no harm. 

Magazine Art Editors aren't afraid to trim off shoulders, hands and backgrounds 
until only the most interesting things are left— the strong features of the indi- 
vidual. Illustrations showing the right and wrong way to trim portraits are shown 
on pages 81, 82 and 83. For the same reason panel designs should be simple and 
not attract attention away from the pictures. A lot of "curlymacues" and orna- 
ments twisted around the portraits may warm the heart of your artist, but they 
don't add effect to your book. They destroy it. Ordinary straight-line designs 
on plain gray mounts with a little decoration are best. 



One hundred sixteen 



GROUPS AND PANELS 

In the Art Editor's section we give full 
instructions on how to make up groups 
ready for the engraver and explain all 
about proportionate reduction, etc., and 
while your duties may be confined to the 
getting together of the photographs and 
pictures, you should carefully study all 
the requirements of the Art Editor and en- 
graver so that mistakes in pictures may 
be avoided. 

UNIFORM REDUCTION 

Read your contract for engravings 
and you will find that on small pictures 
such as individual portraits, snaps, panels, 
etc., there is a very considerably cheaper 
rate for the engravings if all pictures are 
made uniform in size and style so that the 
engraver can reduce a lot of them in the 
same focus. This is an item well worth 
watching in making pictures. Ask your 
photographer to co-operate with you. 



SENDING COPY TO THE ENGRAVER 

The Editor has been advised to place 
in the hands of one person the duty of 
making out all orders for photographer, 
engraver ar.d printer so that a regular 
system can be followed and an accurate 
record kept of all orders placed. You 
should send all your orders through the 
person selected. 

All photographs, drawings and other 
copy for the engraver should be marked 
with serial number, description and size 
of plate required, and all orders should 
be sent in on the blanks furnished by 
the engraver. 

The engraver may be handling pic- 
tures for a hundred Annuals, and copies 
improperly marked and identified cause 
endless worry and needless correspondence. 




inexpensive 



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One hundred seventeen 






it 








A Kood style or drawing or department title 



One hundred eighteen 



v*» 




Building the Book 

CONTENTS 

Page 

1 . Style of Type Composition I 2 1 

2. Type Sizes 121 

3. Estimating Space Required 1 24 

4. Markings for Special Type 127 

5. Position of Printed Page 127 

6. Embellishments 127 

7. Proof Reading 1 28 

8. High Cost of Changes in Proofs 131 

9. Proofs — How Submitted 131 

10. Return of Proofs ' 133 

1 1 . The Presswork 133 

12. Printing Ink 134 

13. Slip Sheeting 1 36 

14. The Binding 137 

15. The Cover 139 

1 6. Engraving Terms 139 

17. Printing Terms 141 



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One hundred nineteen 






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One hundred twenty 



Building the Book 



STYLE OF TYPE COMPOSITION 

Before the printer starts on an Annual a style of type and make-up must be 
determined and the agreed style must be followed throughout the book to get a 
harmonious and pleasing effect. 

There are certain fundamental rules to be followed in book building, but there 
is a wide variety of type faces and styles of composition and what appeals to one 
person may not so well suit the taste of another. 

As the average Editor is unacquainted with the technique of the print shop 
and knows little of the different styles of type and the use to which they are particu- 
larly fitted, he will come nearer getting satisfaction by selecting an Annual that 
appeals to him and tell the printer to follow the style of the book selected both in 
type face and arrangement of the type pages. 

If a certain Annual is selected for general style and there are pages or features 
in another book that seem desirable, the printer can be instructed to refer to both 
or several books and make such changes in particular pages as will not interfere 
with the harmony or artistic arrangement of the completed book. 

Care should be taken, however, in this instance to specify on each sheet of 
copy paper: style same as pages 122, 123 of Blank Annual. 

This is slow, tedious work, but must be done right, unless change of style, extra 
time, resetting whole pages or re-paging whole parts of a book are to be reckoned 
with. The expense of such changes of style after type setting had been completed 
is much greater than the cost of the original composition. Straight matter, historic 
or descriptive, should, wherever it appears in the book, be uniform in both face 
and size of type. 



TYPE SIZES 

Some faces of type will admit of more words to the line and page than others. 

The larger the type face the fewer the number of words to a given surface in 
the printed page. The smaller the type face the greater the number of words. 

No printer carries in his composing room all faces of body type. Usually two 
or three "families" of type are carried. For instance, the Old Style face in 12 or 11 
point for descriptive and historic records; in 10 or 8 point for athletic records, etc., 
and in 8 or 6 point for legends, titles or descriptive matter under individual por- 
traits or other illustrations. 

Historical, descriptive and literary matter appear to much better advantage 
if set in 1 1 point face than if set in 10 point or 8 point. The large type for such 
matter gives the book an air of dignity and elegance. Individual write-ups, 
athletic and other records appear better in the smaller faces. 



m^KC^FP c o. 




One hundred twenty-one 







COMPARISON OF TYPE FACES 

For the purpose of making intelligent comparison of type, we here submit 
a few lines of Cheltenham Wide, Old Style and Scotch Roman, set in several sizes 
of type, solid and leaded 2-points. Notice should be taken that in some of the 
following examples, capitals, small capitals and italics appear, as well as the Roman 
body type of capitals and lower case. 






8 pi Cheltenham Wide— Solid 

The basis of our political system is the right of the people to make and to alter their CON- 
STITUTIONS OF GOVERNMENT; but the Constitution which at any time exists, till changed 
by an explicit and authentic act of the whole people, is sacredly obligatory upon all. 

S pi Cheltenham Wide — Leaded 

The basis of our political system is the right of the people to make and to alter their CON- 
STITUTIONS OF GOVERNMENT; but the Constitution which at any time exists, till changed 
by an explicit and authentic act of the whole people, is sacredly obligatory upon all. 

10 pi. Cheltenham — Solid 

The basis of our POLITICAL SYSTEM is the right of the people to make 
and to alter their Constitutions of government; but the Constitution which at 
any time exists, till changed by an explicit and authentic act of the whole people, 

10 pi Cheltenham Wide — Leaded 

The basis of our POLITICAL SYSTEM is the right of the people to make 
and to alter their Constitutions of government; but the Constitution which at 
any time exists, till changed by an explicit and authentic act of the whole people. 



One hundred twenty-two 



8 pt Old Style— Solid 

Let every AMERICAN, every lover of liberty, every well-wisher to his posterity, swear 
by the blood of the Revolution never to violate in the least particular the laws of the country 
and never to tolerate their violation. * * * Let every man remember that to violate the law 

8 pt Old Style — Leaded 

Let every AMERICAN, every lover of liberty, every well-wisher to his posterity, swear 
by the blood of the Revolution never to violate in the least particular the laws of the country 
and never to tolerate their violation. * * * Let every man remember that to violate the law 

10 pt Old Style—Solid 

Let every AMERICAN, every lover of liberty, every well-wisher to his pos- 
terity, swear by the blood of the Revolution never to violate in the least partic- 
ular the laws of the country and never to tolerate their violation. * * * Let 

10 pt Old Style — Leaded 

Let every AMERICAN, every lover of liberty, every well-wisher to his pos- 
terity, swear by the blood of the Revolution never to violate in the least partic- 
ular the laws of the country and never to tolerate their violation. * * * Let 

11 pt Old Style — Leaded with 1 -point leads 

Let every American, every lover of liberty, every well-wisher to his 
posterity, swear by the blood of the REVOLUTION never to violate in 
the least particular the laws of the country and never to tolerate their 

8 pt Scotch Roman — Solid 

I shall exert every faculty I possess in aiding to prevent the CONSTITUTION from being 
nullified, destroyed ob impaired; and even though I should see it fall, I will still, with a voice 
feeble, perhaps, but earnest as ever issued from human lips, and with fidelity and zeal which 

8 pt Scotch Roman — Leaded 

I shall exert every faculty I possess in aiding to prevent the CONSTITUTION from being 
nullified, destroyed or impaired; and even though I should see it fall, I will still, with a voice 
feeble, perhaps, but earnest as ever issued from human lips, and with fidelity and zeal which 

10 pt Scotch Roman — Solid 

I shall exert every faculty I possess in aiding to prevent the CONSTITUTION 
from being nullified, destroyed ok impaired; and even though I should see 
it fall, I will still, with a voice feeble, perhaps, but earnest as ever issued from 

10 pt Scotch Roman — Leaded 

I shall exert every faculty I possess in aiding to prevent the CONSTITUTION 
from being nullified, destroyed or impaired; and even though I should see 
it fall, I will still, with a voice feeble, perhaps, but earnest as ever issued from 

12 pt Scotch Roman — Solid 

I shall exert every Faculty I possess in aiding to prevent the 
CONSTITUTION from being nullified, destroyed or impaired; and 
even though I should see it fall, I will still, with a voice feeble, per- 






U - :. . 



One hundred twenty-three 



ESTIMATING SPACE REQUIRED 

The task of estimating the number of pages required for a certain amount of 
manuscript, to be set in a certain size of type page, is quite a mathematical problem, 
but is fairly soluble. The ordinary page of 28 lines of typewritten copy averages 
12 words to the line and 336 words to the page. The Editor-in-Chief can easily 
learn how many words he will allot to a certain department. He should then find 
a College Annual style of type and composition from which he may average, by 
counting twenty-five to fifty lines, the number of words to a line. Dividing this 
average number of words to the printed line into the total number of printed lines 
on a page, the number of words required to the page will be known. Or with a 
ruler he can ascertain the average number of printed lines contained in an inch, 
up and down of the printed page, from which he may quickly estimate the number 
of printed pages or portions of pages (the engravings and sub-heads being carefully 
considered) will be requ:red in the finished book for the article or section in question. 
"Boiling down" is often necessary to hold the copy to the space available. In 
estimating by courting words, each part of a line must be considered as a full line, 
both in copy and in printed page. The same in reference to a sub-head. 

Leading, or spacing between lines of type, improves the appearance of the type 
page and makes the reading easier. This, however, is done at the expense of the 
space occupied. The placing of 2-point leads (1-32 inch) between lines of 12- 
point type will admit of only about 85 per cent as many words to the page as the 
1 2-point solid would contain; in 10-point type, about 83 per cent; in 8-point, about 
78 per cent; and in 6-point, about 75 per cent. Inasmuch as Annual articles are 
usually short, occupying only one or two pages, it is considered better form to 
use the leaded style of typesetting, thus insuring better appearance and more ease 
in reading. 

The body matter of this book is set with 2-point leads between lines. 

Great care must be used in estimating the number of words intended for a 
certain page or space in the book. If you have any reason to think that the amount 
of copy is too great to go in the allotted space, it will be well to mark certain parts 
of the copy and give the printer permission to leave out as much as is necessary 
to keep in the space. A memorandum to this effect should be attached to the 
copy. 



A page set in type like this one will contain forty lines with about 15 words to each line, or about 600 words to a 
page. Measuring by square inches there are about 17 words to a square inch of space. Should there be headings, 
sub-heads and engravings on the page, you must deduct for these in figuring how many words go to the page. 

It is a safe plan to follow to ask your printer, after the style of type is decided, to tell you how many words lo 
allow to a line and how many lines to the page. 



Otic hundred twenty-four 




Pictures like these show college life as you want to remember it. 



One hundred twenty-five 










One hundred twenty-. six 



MARKINGS FOR SPECIAL TYPE 

In preparation of copy, care should be taken to specify by the usual simple 
markings the exact size and style and type to be used. 

For sentences and words desired in Italics, a single straight line should be 
drawn under each word desired to be so set thus: Bush-Krebs Co. 

Should small capitals be desired for names, any such copy should be under- 
scored twice, thus: Bush-Krebs Co. 



Should Caps and Small Caps be desired there should be an extra third line 
under the capitals, thus: Bush-Krebs Co. 

For CAPITALS, used for headings only, three distinct straight lines should be 
drawn under each word to be so set thus: Bush-Krebs Co. 



For Bold Face Type, a single wavy line should be placed under each word to 
be set bold. If BOLD CAPITALS are desired, draw three wavy lines under such 
words, thus: Bush-Krebs Co. Bush-Krebs Co. 

Unless markings mentioned above be made, the entire typesetting will be done 
in ordinary capitals and small letters (lower case). It is, therefore, very important 
that a carefully studied-out system be settled upon before the copy is sent to 
the printer. Where pages in certain books are cited as examples, the Editor-in- 
Chief would be spared the trouble of tediously marking each word intended for 
anything other than capitals and lower case type. Or, if you desire, this mat- 
ter may be left to the printer's judgment. 



POSITION OF PRINTED PAGE 

The subject of typography should not be left without a word in regard to the 
position of the type page on the paper page. This is a matter that should be left 
to the judgment of the printer, who knows the rules for the positions better than 
the layman. There are certain rules, one of which is quite common, viz.: that the 
margin at the bottom of a page should be more than that at the top, and the outer 
margin should be equal to that of the inner. This rule applies well to many forms 
of book printing, but does not apply to all forms. Some books appear better with 
the type matter practically centered in the page, while some appear correct when 
centered from top to bottom, but with a little more space in the outer margin than 
in the inner. 



EMBELLISHMENTS 

Initial letters for use at the beginning of chapters and ornaments for embellish- 
ing blank portions of unfilled pages at the end of chapters, if used intelligently, 
not overdone, improve the appearance of a College Annual. Stock illustrations 
may often be used to advantage if used sparingly. See specimens at end of book. 



One hundred twenty-seven 




PROOF READING 

When the copy sheets containing your manuscript reach the printer, it is 
turned over to the typesetter and the body type is set up on the typesetting ma- 
chine. The type as set on the machine is not spaced correctly, as far as page ar- 
rangement is concerned, but is placed in "galleys" and a proof made of it. This 
is termed the "galley proof," and each galley contains approximately twenty 
inches of type. 

Your proof in galley form is read, corrected and revised by proofreaders and then 
sent to you for a careful reading and correcting before the type is made up into 
page form. This is one of the most particular parts of the Editor's work. If 
he edited all matter correctly before sending it to the printer, the same will be set 




The center of attraction. Not only in the scene, but on the printed page. 

into type correctly; but if names, places and captions were spelled incorrectly, 
of course they will be set up in type incorrectly, and your changing of spelling or 
different construction of sentences will be alterations from the original copy, and 
charged for according to the time it takes to make these changes. However, if 
you contemplate any changes from the original copy, here is the place to make them, 
as it will cost you less to alter proofs in galley form than it will after made up into 
pages. 

After the type is made up into pages it is a far more expensive operation to 
go to the letter board, find the page, take it away in a galley, open it on a stone, 



One hundred twenty-eight 







A fine example of portrait grouping for the underclasses or clubs. 
Notice how nicely the pictures are spaced and how the white lines separate portraits from background. 



. 



One hundred twenty-nine 






make the desired correction, tie up the page again, put it back in the galley and 
store it away in its place on the letter board for the particular book, than is the 
operation of original makeup of that page. Should a paragraph be discarded, or a 
paragraph be added, it will require extra typesetting and repaging until some place 
may be reached where there is sufficient blank space to accommodate this matter 
moved forward. Adding or taking away a whole page means the renumbering 
from that page to the end of the book, including the opening of every page to 
make the change in the figure for the folio. 




xtra charge for this border lii 



shown with alin 
ally it i.s not desir 



black border lii 



The expense of authors' changes can be very easily eliminated entirely by hav- 
ing every line of copy and ever page of dummy carefully edited and typewritten 
before sending to the printer. For these reasons printers are only too anxious to 
have the Editor-in-Chief do his work properly before the copy is sent in. 

The galley proof should be read carefully and all errors marked plainly in the 
margin. You should also check up your dummy with your galley proofs and see 
if your articles will come within the space you have allowed. If it is clear that 



One hundred thirty 



they will not, you will either have to rearrange your dummy or re-edit the article 
by cutting out portions of it so that it will fit in the space specified. 

As you check off galley proofs by your dummy, mark on the margin of the 
proofs the page number on which the type is to appear in the dummy. This will 
greatly facilitate the make-up man in finding the articles as the book is made in 
page form. Return the galley proofs promptly. 

Just as soon as he receives the galley proofs, the corrections are made, and the 
book is then made into page form and a page proof is submitted, with your marked 
galley proof, for your final revision and 0. K. This proof, while not a sample of 
paper or presswork, represents the appearance of the pages just as it will appear 
in book form. We would suggest, to prevent possible errors, that you carefully 
compare page proofs with your original galley proofs and see if errors marked in 
galley proofs have been properly corrected. If there are any corrections to be 
made, indicate them. The printer uses every possible precaution to avoid typo- 
graphical errors, but will not hold himself responsible for their correction unless 
you clearly indicate such errors on the proof. Just as soon as these proofs are 
all returned, your part in the production of the Annual is completed, for the book 
is then ready to be printed and bound. 



HIGH COST OF CHANGES IN PROOFS 

If every line of copy and every page of the dummy is so carefully edited before 
it is sent to the printer that there can be no changes possible unless the printer 
has made mistakes in typesetting which his proofreader has not caught, the printer 
must make the correction of these errors without expense to the management. 

The printer dislikes changes from original copy because of the high cost which 
he is compelled to charge, because of the delay which they bring to other work 
going through his plant, and last, but by no means least, because of the unexpected 
but none the less severe jolt the Business Manager is sure to receive when a heavy 
item for changes appears in his bill. For these reasons the printer is only too anxious 
to have the Editor-in-Chief do his work thoroughly before he receives the copy. 
A few hours of careful and final editing will save time, money and ill feeling. It 
is of mutual interest that changes be eliminated or at least minimized. 

To use plain but emphatic language, many College Annual Editors seem posi- 
tively dumb regarding this item of author's changes. 



PROOFS— HOW SUBMITTED 

Page headings, if used throughout a book, are shown in the proofs of only the 
first section of sixteen pages. 

Proofs are never submitted on any but cheap proof paper, light in weight and 
with cheap ink. They should, however, be sufficiently plain to be easily read, so 



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One hundred thirty-one 






that "i" may be distinguished from "1," "n" from "u," etc. If, by any accident, a 
proof not perfectly legible should happen to be sent away, the best course is 
immediately to ask for a perfect proof. The printing of halftones and other 
engravings on proof paper is of the roughest kind and is only for the purpose of 
identification and proper position. In case of the slightest doubt as to identifica- 
tion of a halftone, by all means ask for a better proof so that there can be no possible 
doubt. The printer will send the copy with the proof, and it must be returned to 
him with the proof, otherwise delay will follow, as the printing cannot be done 
without the complete copy and dummy for constant reference. Unless specially 
so requested, the printer does not send the dummy with the proof, as you are sup- 
posed to have your own duplicate copy of dummy. 



RETURN OF PROOFS 

The best method for the return of copy and proof is by Special Delivery. The 
rate for postage is the same as for books and photographs. They must be labelled 
"Printer's Proof and Author's Manuscript." The postage is one-half cent an 
ounce. They can also be sent as Parcel Post. Be sure that the printer's full 
name and street address appear on the package or proof and copy when it is re- 
turned to him, and see that your own name and address are written on the package 
preceded by word "From." 

The sender's name should also appear in connection with the statement as to 
the contents of the package. It is our experience that a Special Delivery stamp 
affixed to the return package will materially aid in the rapid handling enroute, 
whereas, otherwise, it would be a whole day slower in transit. Express is in- 
variably slower than mail. Registered mail is very slow and affords but little 
more protection than Special Delivery. Third-class with Special Delivery stamp 
is more rapid than first-class mail without Special Delivery. 

Never roll proofs or copy. They should be sent flat, as they must of necessity 
be handled several times by the printer for the corrections and proofreading of 
corrections, checking of paging and lock-up and checking of final press proof. 
If rolled, they are hard to handle. 

Proofs should be returned at the earliest possible moment. We urge most 
strongly that the Editor and such assistants as he may designate get right to work 
at the proofreading and checking immediately upon the proofs' arrival, asking for 
excuses from recitations and study periods until the work has been done and the 
proofs and copy dropped into the return mail. Every hour is valuable, as the 
printing and binding must be given plenty of time if the work is to be first-class. 



THE PRESSWORK 

The principal factor in good presswork is time. No really good work can be 
done in a hurry. It is safe to say that over half of the College Annuals printed 
are put through in a hurry because of the delays and troubles of the Editor-in- 







One hundred thirtv-three 



Chief or some of his assistants. The only positive assurance of a good-looking 
Annual, with proper typographic arrangement, good printing and fine binding, is 
to give the printer ample time in which to do his work right. The "make-ready" 
is a most interesting process to watch. To make ready a form of 16 pages, contain- 
ing the usual run of halftones and etchings, requires a half day of a press worth 
three to six thousand dollars, a high priced pressman and two assistants. No 
matter how well the work may have been done in the engraving plant, each en- 
graving, especially a halftone, requires the use of tissue paper pasted on in layers 
underneath the block, or sometimes, if the engraving be a thousandth of an inch 
too high, sandpaper must be brought into use to bring the block down to type-high 
measurement, which is .9166 inch. The test of a good engraving from the press- 
man's point of view, is that the engravings will be on thoroughly seasoned wood 
which will not shrink in dry weather. Halftones are now-a-days etched very 
deeply by good engravers so that the printing is clear. The blocks must be trimmed 
absolutely square in order that the lock-up may remain solid. It is much cheaper, 
from the financial point of view, for the printer to have strictly high grade en- 
gravings than poor ones not square and not type high. 

The pressman takes proof-sheets from the press at frequent intervals during 
the process of the "make-ready," and when the form suits him, the final press 
proof-sheet is shown to the superintendent who determines as to whether the press- 
work shall proceed or further "make-ready" be needed. Thus, one may readily 
understand why rush work in the pressroom means work approaching in poor 
quality that appearing in the cheap magazines, whereas ample time will give the 
very best possible appearance to the halftone printing, clearness to the type and 
etchings; in short, a high grade piece of work. This in itself shou'd be a sufficient 
inducement to the management of an Annual to get copy away in ample time for 
really good work. We have in mind at the moment an Annual for a leading State 
University, the contract for which the printer accepted, with seven weeks' time 
in which to complete the work. The printer had prepared his bindings in advance, 
bought paper and some special "sorts" for the job. and could not drop it when the 
copy came in ten days before commencement. The result was naturally appalling, 
a disgraceful job for the printer to turn out, and one which surely reflected no 
credit on the management whose names appeared in the front of the book. 



PRINTING INK 



The subject of ink must be given intelligent consideration. The engraver al- 
ways urges the best of black halftone ink to be used on pure white paper. All 
machine catalogs in which fine detail of parts is to be uppermost are printed on 
pure white enamel paper of a high quality and fairly good thickness. A great 
majority of the Annuals are printed with black ink on white enamel paper. A few 
appear in some one of the many beautiful brown inks on cream colored or India 



One hundred thirty-four 





One hundred thirty-five 



paper. This costs more because of the fact that brown ink of sufficiently good 
quality is much higher priced; the India paper costs more, and the ink is much 
harder to run, requiring perhaps fifty per cent more time than the black ink. 
The very dull finished papers which are so popular for some kinds of high class 
printing are still more expensive, and the ink required for use on them, together 
with a double amount of "make-ready" and the frequent stops of the press for 
the purpose of washing out with benzine all the engravings, on account of the ease 
with which they fill up with the double-tone ink, brings the cost of this sort of press- 
work to two or three times that of the black ink on white. Then, too, all photo- 
graphs will not make halftone plates of the proper harmony to work nicely on 
this sort of paper with the peculiar ink required. 

The so-called duotone, or doubletone inks come in a number of shades of hand- 
some brown and greens for practical printing. We will not consider the blues 
and purples here. No printer can guarantee to make the shade of color the same 
in one book as appeared in another, or to get exactly the same shades at both 
ends of any one book. It is a long story why such matching is impossible. The 
ink is made of two antagonistic materials, color ground in varnish and color mixed 
with water. The result desired is an imitation of a photograph or of a photo- 
gravure. The water mixture makes the trouble. An ink-maker of international 
reputation and a certain well-known printer recently combined for a series of 
experiments. Without entering into details we will state that some of the startling 
results were as follows: 

The printer used the same press, the same engravings, the same paper and the 
same ink from the same run of ink at the factory. But impressions made on a 
damp day differed quite materially in shade from those on a dry day. Sheets 
on the bottom of a pile only one inch high racked in slipsheets differed in shade 
from those on top because of the weight on the slipsheet, causing it to act as a 
blotter. 

Dampness, heat and pressure affect the results in these inks, now so popular 
for the very highest class of printing. The ink does not attain its final color until 
ten to fifteen days after printing. Notwithstanding the utter impossibility of 
exact matches in shade, the work produced is magnificent, the very finest possible, 
and much sought after. 



SLIP-SHEETING 

The printer should slip-sheet every form in a College Annual if there be time. 
He is thus enabled to use a high-grade ink which requires at least two days of 
good dry weather in which to dry in the drying racks. For a rush job he simply 
uses a cheaper ink, mixing with it some dryer, omits the slip-sheeting and gets 
through in the time allotted. 



One hundred thirty-six 



THE BINDING 

When an Annual is placed in the hands of the subscriber, at least fifty per cent 
of the impression for good or bad, made by its first appearance, is in the binding. 
A book full of literary merit, magnificent presswork from fine plates, well printed 
on good paper, may be practically ruir.ed in the bindery, in two ways: 

First: Specifications may be too cheap. Cheap imitation leather, no matter 
how well it may look at first, soon proves what it is and gives the entire book a 
very cheap appearance. If a solid board case is made, great care should be taken 
not to have the board too thin nor, on the other hand, too heavy. This board 
should be of good quality, with a smooth surface, or the leather will appear to have 
slight depressions and humps in the outside covers; also in the linings. Cheap 
imitation gold leaf should never be tolerated, no matter how cheap the price of 
that item may be. It will tarnish within six months or a year, and within two or 
three years will turn almost black. We much prefer, where real gold leaf cannot 
be specified on account of the excess price, to blind-stamp the design on the cover, 
if leather. The binding specifications are naturally considered last, at a time when 
the Board of Management is weary of considering all the large and small previous 
details. But this is an important matter. No one would think of putting a 
$9.99 suit of clothes on the President of the University. The binding is to the 
book what raiment is to the human being. It is as desirable to maintain the 
dignity of the College Annual as that of the president of the institution. On the 
other hand, printers have printed books with gaudy bindings which really be- 
littled the good work which they covered. Too much gold leaf or color leaf will 
spoil a book as well as too cheap binding. 

Second: The actual labor done in the bindery must be first class. We have 
in mind bindings that have been turned out with the cheapest kind of machine 
sewing, cheap glue, cheap binder's cloth or cheap sheep-skin or goat hide, put 
together roughly, in a hurry, by cheap help. Careful, slow work by competent 
employees, who have mastered the trade, will bring good work from a bindery, 
especially if there be ample time in which to do such work. 

A "case" made on a machine, by girls, in a cheap bindery, the book "hung" 
in the case in a hurry, with perhaps little attention paid to the condition of the 
glue, whether it be too hot or too cold, the book pressed for half an hour and then 
turned into a shipping case, will surely guarantee a book which will fall to pieces 
within a few weeks. The moral follows: "Give the printer ample time in which 
to do good book binding as well as good printing." 

The higher cost of production of a truly substantial binding can be neither 
seen nor understood by persons of keen intelligence unless sufficient investigation 
be made to enable them to make comparison. 









One hundred thirty-seven 




This shows a well arranged fraternity group with the frat emblem as part of the 
design. There is only one defect in this engraving. The names under the pictures 
were put in with a bluish tinted ink and are not strong enough to be easily read. For 
all art work India Ink should be used. 



One hundred thirty-eight 



As to the specifications for the cover: Good cloth, especially buckram, will 
frequently outwear leather which is not Ooze, Sheep, Calf, Cowhide, Morocco, 
Russia or some of the other high-grade qualities. 

The "Kowhide," a patented imitation leather cover made by Molloy is probably 
the most used for College Annuals. It will stand a lot of wear and rough handling, 
and always looks good. 

There is also another good imitation leather cover called "Fabrikoid" which 
is used quite extensively. 

Distinction should be noted between Semi-Flexible style, a cover with leather 
on outside glued to a thin tag board, to which on the inside is glued the lining 
paper, and the Flexible style in which the thin tag board is omitted. We recom- 
mend the Semi-Flexible, although it costs a little more to prepare. The Flexible 
is apt to curl back unless kept under a weight for many days after binding is done. 

The covers for Annuals are always made up in advance of the binding of the 
book, so it is necessary that the number of pages should be definitely decided on 
early and such decision not changed by adding to or taking from the number of 
pages. For instance, should you decide to leave out 32 pages, after the covers 
are made, the bound book will look like a fifteen -year-old suit on a ten-year-old boy. 
The opposite result would come from trying to put in 32 additional pages after 
the covers are made up. 



A BRIEF EXPLANATION OF SOME OF THE WORDS OR TERMS USED 
IN ENGRAVING AND PRINTING 

All of these words will be used at some time in our correspondence with you. 
Engraving Terms 

Art Work: Work by artist, grouping photographs, making special drawings, 
correcting defects in photographs or drawings, etc. Usually charged for on basis 
of time work. 

Ben Day Plates: Plates made by laying shaded tints on copper or zinc, and 
etching them to produce colors or combination of colors when printed. 

Border: A design working entirely around the type page. Usually printed 
in different color of ink from type and engravings and appearing on all pages in 
book except ad pages. Where borders are used, as many electrotypes must be 
furnished as there are pages in a printer's form, usually 8 or 16 plates. 

Color Plates. Plates made by the use of a key plate and color plates, either 
halftone or line. To be printed in two or more colors. 

Combination Plates (Black only): Plates made by the use of two or more 
halftone and line negatives, the films stripped together and printed and etched 
on one copper or zinc plate. 



One hundred thirty-nine 



Copy: Photographs, drawings, groups, designs, etc., are "copy" for the en- 
graver. 

Cover Stamp: A plate made in high relief, used by binders for stamping on 
book covers or similar surfaces. 

Cut: A term frequently but improperly applied to halftones, zinc etchings or 
electrotypes. 

Duograph: Two halftone plates made from one copy and usually printed in 
black and one tint, or two shades of the same color, the two plates made with 
different screen angles. 

Electro, Electrotype: A duplicate printing plate made from an etching or 
halftone. Usually used for duplicate borders or head and tail pieces. An electro 
cannot be made from the original drawing or photograph. 

Embossing Plate: A plate etched or engraved below its surface used in con- 
nection with a male die to raise or emboss paper or cardboard above the surface. 

Etching: See zinc etching. 

Ex Libris Design: A design in which the name of the owner can be written. 
Usually printed on the fly leaf or page one of the book. 

Folio Design: A design working at the top of each page in book and usually 
containing name of Annual. Where folio design is used, at least 1 6 plates must 
be furnished. Also called Head Piece. 

Four-Color Process: Same as the three-color process, with the addition of a 
gray or black plate. 

Groups: Two or more photographs pasted on a heavy cardboard. A single 
halftone is then made from the complete group. Very desirable and artistic where 
a number of pictures go on same page. 

Halftone: An engraving made by photographic process from photographs, 
charcoal and wash drawings. 

Halftone (Square Plate): A halftone in which the outside edges are rectangular 
and parallel, may be with or without single black border. 

Halftone (Outline): A halftone with the background outside of the object 
entirely cut away, leaving a definite edge without shading or vignetting. Costs 
50 per cent more than square finish halftone. 

Halftone (Vignetted): A halftone in which one or more of the edges of the 
object are shaded from dark tones to pure white. Costs 50 percent extra. 

Halftone (Outline and Vignetted): A halftone in which part of the back- 
ground is cut away and part vignetted. Costs 50 percent extra. 

Halftone (Oval): A halftone cut into oval shape. Costs 25 per cent more than 
square finish halftone. 

Hand Tooling: Any work done by use of a tool upon the plate to increase 
the contrast of the etched plate. 

Head Piece: See folio design. 

Highlight Halftone: A halftone in which the elimination of the dots in the 



One hundred forty 



high-lights is accomplished by a photo-chemical process instead of by cutting 
them out with a tool. 

Panel Design or Panels: A design printed or drawn on heavy mounting board 
with space left in which to paste pictures. Usually these are used for Senior 
pages and occupy about one-third of the page. 

Reverse Etching: A plate from which the blacks of the original copy will 
print white and the whites will print black 

Special Background: A design printed in some tint ink with engravings and 
type overprinting same. Usually employed to feature the Senior section. 

Three-Color Process: Printing plates produced from colored copy or objects 
to reproduce the picture or object in its original colors by a photo-chemical separa- 
tion of the primary colors, and etched halftone plates to reproduce each separate 
color; usually printed in yellow, red and blue. An approximate result may be 
obtained from one-color copy by using the skill of the workmen in securing the 
color values on the etched plates. 

Two-Color Halftone: Two halftone plates, either or both plates an etched 
plate containing parts or all of the design, to be printed in two contrasting colors. 

Vignette: Halftone with edges shaded away. Costs 50 per cent more than 
square finish halftone. 

Zinc Etching: An engraving made by photographic process from pen and 
ink drawings. Sometimes called Line Etching. 

Printing Terms 

Author's Changes: Additions to or changes from your original copy sheets 
after type has been set. An extra charge is made for such changes. 

Blank Stamping — Blind Stamping: A bookbinding term referring to the re- 
sults obtained by heating the cover stamp and burning the design into the leather: 
on the same order as branding a steer. 

Book Inserts or Book Division Inserts: A special series of illustrations, intro- 
ducing various sections of a book, such as the Classes, Organizations, Athletics, etc. 
Usually printed on colored cover stock and in more than one color of ink. 

Captions: One or two descriptive lines of type appearing under each en- 
graving. 

Copy: Any manuscript or material of any sort to be set in type is "copy" 
for the printer. 

Dummy: The plan of the book, page for page. (See article on Dummy.) 

End Sheets: Double leaves of heavy cover page, one leaf being glued to inside 
of cover for lining, the other becoming the fly leaf. An end sheet is glued to both 
front and back cover and there is a fly leaf in both the front and the back of book. 

Fly Leaf: Blank leaves of paper in front and back of book. (See End Sheets.) 

Folio: The page number. The left-hand page is always an even number and 
the right-hand page is always an odd number. 



-^VA^\ 



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One hundred forty-one 






Form: Usually consists of 8 or 16 pages, as this is the number of pages printed 
on a press at a time. 

Galley Proof: Proof of type matter just as it comes from the typesetting 
machines. Galley proofs are made in long strips without any spacing or display 
headings. 

Insert: A leaf (2 pages) separate from the ordinary leaves of the book. It 
must be glued into the binding edge of the book instead of being sewed. Any 
single leaf printed on special stock must be inserted in this way. 

Page: One side of leaf in book. One leaf is two pages. 

Page Proof: The final proof sent the Editor, showing exact arrangement of 
type and cuts. It is not a sample of paper or presswork. 

Pebbling: A process whereby the regular enamel paper is run under an en- 
graved steel roll and a pebbled or roughened effect secured. 

Section or Signature: Usually a unit of 1 6 consecutive pages, as pages are folded 
in 16-page sections. Sometimes refers either to 4, 8 or 12 consecutive pages. 

Semi-Flexible Binding: A style of binding on which the cover material is 
glued to a thin, flexible board. 

Stiff Binding: A style of binding on which the cover material is glued to a 
thick, heavy board. 

Tip: An illustration, smaller' than the page, affixed by pasting on one edge 
to an insert or page. 




One hundred forty-two 



-JJIP 







Very fine style for department title cartoons. Pen drawings made like this reproduce nicely and print well. 



&^i^^w^u£5^m: 



ek 



One hundred forty-three 




Example of square finish halftone made from extra fine photograph, one that has plenty of detail. 




Fine square finish halftone for half-paffe i 









^a^^a^w 






One hundred forty-four 






m 






INDEX 






Pages 

Accounts, How to Keep 44-45 

Advertisers' Bulletin 49 

Advertising Campaign 47 

Advertising Section, How to Handle 47 

Alumni 47 

Art Editor's Responsibilities 55 

Art Editor's Section, Contents 54 

Art Errors 58 

Art Sections 95-96-99 

Art Work. Planning 56 

Artists' Materials 56 

Assessments 47 

Background for Pictures 114 

Banking 43 

Ben Day, Shading 59-65 

Bills, Checking 50 52 

Binding 137 

Book, Receiving from Printer 50 

Bookkeeping, How to Keep Accounts 44-45 

Business Manager, Importance of 39 

Business Manager's Section, Contents 37 

Business Records, Importance of 42 

Changing Proofs, High Cost 131 

Check Book, How to Use 43 

Checking Bills 50-52 

Collecting 39-53 

Color Drawings 60-68 

Color Plates 25 

Combination of Photo and Drawing 66 

Consultation with Editor 1 1-104 

Consultation with Engraver 104 

Contents 6 

Contracts, Let Early 39-55 

Copy, Editing 23 

Copy, How to Prepare 15 

Copy for Engraver, How to Send 117 

Copy for Engraver, Sizes 27 

Copy for Engraver, Spoiled in Shipping . . 29 

Copy, for Engraver, Stickers 36 

Correspondence 24 

Covers 139-144 

Dedication 4 

Diagrams for Proportions 90-9 1 

Drawings, Errors in 58 

Drawings, for Zinc Etchings 58 

Drawings, Ink to be Used 58 

Drawings, Instruct Artists 56 

Drawings, Pencil and Charcoal 66 

Drawings, Samples 58 

Drawings, Uniform Style 56 

Drawings, Wash 66 

Dummy, Border, Head and Tail Pieces .21-23 

Dummy, Editing 23 

Dummy, Estimating Space 21 

Dummy, How to Make Up 17 



Pages 

Dummy, Illustrations of 18-20-22 

Dummy, In the Bindery 29 

Dummy, Inserts 21 

Dummy, Page Headings 23 

Dummy, Styles of Pages 19 

Duographs 29 

Early Start, Bulletin 14-52 

Early Start, Reasons for 12-55-105 

Editing Copy and Dummy 23 

Editor, His Position 11 

Editor's Section, Contents 9 

Election of Staff II 

Embellishments 127 

Engraver, Reasonable Time for 14 

Engraver's Copy, Defects 29 

Engraver's Copy, Sizes of 27 

Engraving Prices 51 

Engraving Terms 1 39 

Engravings, Color Work 25-30 

Engravings, Identification of 30 

Engravings, Oversize 23 

Engravings, Styles of 25-28 

Errors to be Avoided 58 

Excessive Costs, How to Prevent 49 

Extra Assessments 50 

Extra Copies 50 

Faculty Panel 68 

Failure, Causes of 39 

Finances, Failure in 39 

Financial Statement 46-49 

Financing the Annual 46 

Foreword 3 

Get an Early Start 12-105 

Grouping, Advantage of 75 

Grouping, How to Get Proportions 88 

Grouping, Portraits by Engraver 75 

Grouping, Portraits by Students . 78-81-82 

Grouping, Snaps by Engraver 83 

Grouping, Snaps by Students 84-87 

Groups, How to Arrange 78-83 

Groups, Too Crowded 81 

Halftone Screens 26 

Halftones, Duographs 29 

Halftones, How Made 25 

Halftones, How to Order 32-33 

Halftones, Styles of Finish 27 

Halftones, Three Color Process 30 

High Cost of Changes in Proofs 131 

Identification of Engravings 30 

Introduction 5 

List of Illustrations 7 

Margin of Safety in Finances 41 

Margin of Safety in Pictures 108 



^ M i^^ w ^ytL^iiL^m P" 



One hundred forty-five 



I N D E X— C o n t i n 



u e 



Pages 

Margin of Safety in Time 40 

Marking Portraits 110 

Materials for Artists 56 

Molloy Covers 144 

Mounting Boards 56-57 

Old Engravings 35 

Ordering Engraving and Printing . 32-35-36 

Page Headings 23 

Panel Designs. How Made 69-74 

Pen Drawings, for Color Plates 60-63 

Pen Drawings, for Zinc Etchings 58 

Pen Drawings, Shading 59 

Pencil and Charcoal Drawings 66 

Photograph Editor, Consultation 103 

Photograph Editor, Importance of 103-104 
Photograph Editor's Section. Contents. . . 101 

Photographer, His Selection 104 

Photographer. Suggestions to Ill 

Photographing. Early Start 105 

Photographs. Arranging Sittings 110 

Photographs, Margin of Safety 108 

Picture Day 107 

Planning the Art Work 56 

Plenty of Snaps .'116 

Portraits, Making Appointments 110 

Portraits, Size and Shape 114 

Portraits, Styles of Finish 28 

Portraits, Too Much Enlargement 113 

Portraits. Uniform Size 78 

Position of Printed Page 127 

Position of Type Page 127 

Postage and Mailing 24-53 

Presswork 1 32 

Printer. Reasonable Time for 14 

Printer's Copy, Editing 16 

Printer's Copy, How He Handles It 16 

Printer's Copy, How to Prepare 15 

Printer's Copy, Legibility 15 

Printer's Copy, Numbering Sheets 16 

Printing Ink 1 34 

Printing Terms 141 

Proof Reading 16-17-128-131 

Proofs. Advance Book for O. K 17 

Proofs. Final Page 12 

Proofs, Galley 16 

Proofs, How Submitted 131 

Proofs. Return of 1 32 

Proportions. How to Get 88-90-91 



Reading Proofs 128 

Reasonable Time for Engraver and Printer 52 

Receiving the Books 50 

Reducing Pictures in Proportion 89 

Reductions. Uniform 117 

Re-etching 13 

Sample Drawings 58 

Selecting Your Photographer 104 

Selling the Annual 46 

Sending Copy to Engraver 24-35-1 17 

Senior Panels 69-70-7 1 

Shading. Ben Day 59-65 

Shading, Styles of 59 

Shipping Copy 24 

Sittings for Photographs 110 

Slip Sheeting 1 36 

Snaps, How to Group 83-84-87 

Snaps, Plenty of 116 

Space Required, Estimating 124 

Special Type, Markings for 127 

Staff. Election of II 

Staff. Organizing 12 

Start Early 12-14 

Stickers for Copy 36 

Stipple in Drawings 59 

Style of Prints I 14 

Subscriptions 46 

Superfluous Background 94 

Three Color Process 30 

Trimming Pictures 94-1 16 

Type Changes. High Cost of 131 

Type Composition, Style of 121-123 

Type Faces, Comparison of 122-123 

Type Page, Position of 127 

Type. Space Required 124 

Type Sizes 121 

Uniform Reduction 117 

Wash Drawings 66 

Wasting Postage Stamps 24-53 

Zinc Etchings, How Made 30 

Zinc Etchings, How to Order 34-35 

Zinc Etchings, In Colors 25-30 



One hundred forty-six 



Distinctive Covers 
Insure the Success of Your Annual 






THE beauty 
and the indi- 
viduality of 
the cover, or the 
lack of these quali- 
ties, is certain to 
be a contributing 
factor in the suc- 
cess or failure of 
every College 
Annual. 

"IP Realizing this 
fact we have 
formed a connec- 
tion with the manu- 
facturers of Molloy- 
Made Covers, the 
finest College An- 
nual Covers built. 

ID Molloy-Made 
Covers will solve 
your cover prob- 
lems. We advise 
and recommend 
their use. 




THESE beaut- 
i f ul covers 
may be se- 
cured in any de- 
sign and color 
desired. The spirit 
of your year book 
will be built into 
the cover. 

"IP We are also 
able to offer as a 
part of our service 
the preparation 
without charge of 
finished cover de- 
signs, prepared by 
skilled artists. 

"]P Samples and 
designs are necess- 
ary to give you the 
proper conception 
of these covers. 
They will be sent, 
with quotations, at 
your request. 



Write for Samples 

BUSH-KREBS COMPANY Louisville, Kentucky 

THE DAVID J. MOLLOY CO., 63 3 Plymouth Court, Chicago 
Your Printer or Binder will also be able to secure prices and samples for you 



This is Warren's Lustro Enamel 

32x44—148 lb. 

Made by 

S. D. Warren & Co. 

Boston, Mass. 
Cumberland Falls, Maine 






Diem & Wing Paper Co. 

Distributors 

Louisville, Kentucky 
Cincinnati, Ohio 












One hundred forty-seven 






, Burn - kjreb.jr.^Conipanv 

Coll eqe Annual Ln^raveKT 

I L O V 1 J* V I^yLL, K L "N T^C K Y "V. J". 
















Owe hundred forty eight 



